ALMAGHRIBIA — broadcast
20260806 203000 UTC
376 transcript segments
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[00:00:00] this art has a beautiful ornamentation.
[00:00:06] settled in is always present in We also see that in terms of themes, the themes are not outside the themes we find in these houses,
[00:00:09] these houses that we call the Grand House, which also has
[00:00:12] botanical
[00:00:16] and geometric ornamentation.
[00:00:19] It is beautiful with
[00:00:21] El-Mohamadi entered
[00:00:21] these great landmarks today, the use of various
[00:00:26] civilization that transformed this great history, this wealth, colors.
[00:00:31] Thus, the Grand House in the Kasbah of Fayda differs from
[00:00:35] by painters of other sultanic palaces.
[00:00:38] It is a residence
[00:00:41] sunset moments that with a private entrance, seven doors, and residential wings surrounding
[00:00:45] an open courtyard.
[00:00:48] It is surrounded by arcades supported by columns
[00:00:51] built with high
[00:00:53] craftsmanship.
[00:01:01] highlights weekly events in peoples despite differences in This palace contains many things, from the royal residence to the princely
[00:01:04] residence to the house of governance
[00:01:07] and caliphate.
[00:01:10] The Kasbah of Fayda is considered a distinguished and
[00:01:14] complete example of Maghrebi architecture
[00:01:17] in the Tafilalt region.
[00:01:23] It is similar to other palaces such as Kasbah Abar Al-Makhzen
[00:01:27] and Kasbah Oulad Abd Al-Halim.
[00:01:32] These are historical landmarks
[00:01:35] and architectural masterpieces built during a period that paved the way
[00:01:38] for independence in Tafilalt.
[00:01:39] the world that is
[00:01:55] portraits, and many portraits
[00:02:01] Today, when we talk about this style, it is a living example, because
[00:02:04] today the Fayda Palace is a
[00:02:08] The beginning was in heritage landmark
[00:02:11] that has undergone restoration because the Ministry of Culture started
[00:02:13] in the early
[00:02:16] nineties of the twentieth century, through the Center for Restoration and Employment
[00:02:20] of Architectural Heritage in the Atlas regions,
[00:02:23] Hasten to to undertake the first interventions to restore this palace
[00:02:27] and to restore these components.
[00:02:35] Hasten to
[00:02:40] Hasten to
[00:02:46] To preserve the basic components
[00:02:49] of this building,
[00:02:52] using traditional
[00:02:54] techniques.
[00:02:58] From the rammed earth and
[00:03:02] sun-dried bricks, and
[00:03:05] using various local materials to preserve
[00:03:10] Over a year and a half the architectural features of this region.
[00:03:24] Sharifian State,
[00:03:25] on the but God.
[00:03:28] These historical landmarks have been around for centuries,
[00:03:32] despite the harsh geography that
[00:03:34] Despite that, this threatens them with extinction
[00:03:37] after it destroyed many facilities and made them
[00:03:42] of this collection of sultans and kings forgotten.
[00:03:46] Today, the Heritage Interpretation Center in the Sijilmasa
[00:03:50] region plays a pivotal role in rehabilitating these
[00:03:54] monuments. Many
[00:03:57] and diverse techniques are used in the
[00:04:02] We will review with him the party's position operations, but they do not change the quality of this architecture; rather, they use the same
[00:04:06] materials that were used in construction centuries ago,
[00:04:09] such as clay and wood, so that
[00:04:13] these palaces and kasbahs regain their beautiful appearance that once gave
[00:04:17] them a special
[00:04:20] splendor that made them a source of pride
[00:04:23] and honor. Today, through restoration
[00:04:27] operations, they seek to regain that position.
[00:04:32] Apart from the aesthetic element, these
[00:04:35] architectural masterpieces can play a role in revitalizing
[00:04:38] tourism in the region as a whole.
[00:04:58] Then there were also
[00:05:00] that I share with many activities that were carried out by the association,
[00:05:04] many cultural activities that took place in this palace
[00:05:07] and in this house, including the art of Malhun, which
[00:05:11] was performed
[00:05:16] in the courtyards of the Grand House of the Fayda Palace. Today we have a
[00:05:20] large and integrated project
[00:05:23] in this monument. It is the establishment of the Sijilmasa
[00:05:27] Heritage Interpretation Center. Because we say
[00:05:30] today that we must, when we see
[00:05:36] in fact, this heritage, and this cultural
[00:05:40] capital that it possesses, and we see that it is not being exploited in a truly
[00:05:45] scientific way,
[00:05:48] in a way that is exploited in the field of
[00:05:52] education in the field of tourism. Today we say that we need
[00:05:56] an institution that we must create in this context,
[00:05:59] in this region, that has a role, for example,
[00:06:03] an educational role, that has a relationship with educational
[00:06:06] institutions, and that also has an economic role in encouraging
[00:06:09] cultural tourism in this region, and that has a very
[00:06:13] important role, which is the role of preserving
[00:06:15] memory.
[00:06:18] In Tafilalt, man is a product
[00:06:20] of his nature, so in his daily activities,
[00:06:24] he lives by what his surroundings provide,
[00:06:27] whether in his trade or even in the talents
[00:06:30] of excellence
[00:06:32] and creativity that life has given
[00:06:36] him, and the dunes of Merzouga, which are about 40
[00:06:40] kilometers from the city of Rissani.
[00:06:43] We see those golden sands when the sun's rays reflect
[00:06:47] on them, painting a work of art for
[00:06:52] beyond description.
[00:06:56] With its unique charm
[00:06:58] and beauty, it became a source of inspiration
[00:07:02] for those with a refined artistic sensibility.
[00:07:05] And among those who loved art with its sublime messages
[00:07:08] is the artist Hassan El-Mohamadi,
[00:07:11] who developed the enchanting golden sands and turned
[00:07:15] them into artworks that captivate hearts
[00:07:17] and minds.
[00:07:21] the house. When the house, for example, is plastered with
[00:07:24] clay and straw, when it dries, it cracks and gives cracks.
[00:07:28] And since there was no electricity or anything in that
[00:07:32] place, we used to light up with
[00:07:35] a lantern. And when, for example, dinner was being cooked,
[00:07:38] we would gather together, and there would be those
[00:07:41] stories and such. One person would tell a story.
[00:07:45] And for me, with that light of the fire,
[00:07:49] which was a bit dim, I would see some drawings.
[00:07:52] Drawings, for example, of some animals, some trees, many things
[00:07:56] would appear to me. And that was my beginning,
[00:08:00] for example, to get that artistic touch
[00:08:04] in me. The sand helped me a lot too,
[00:08:07] as I would draw my drawings and sometimes erase them, and then the wind
[00:08:11] would come and redo them, for example.
[00:08:22] From childhood to attempts during middle
[00:08:25] and high school, El-Mohamadi's experience
[00:08:28] matured. He used to spend long
[00:08:32] hours planning, contemplating,
[00:08:35] and drawing
[00:08:37] sand before all these drawings
[00:08:41] disappeared, except
[00:08:43] for a few.
[00:08:47] artist did not stop drawing, as it is his favorite hobby
[00:08:51] and the best expression of a living
[00:08:54] spirit that beats with love for Merzouga, the bride of the desert
[00:08:57] of the southeastern
[00:08:58] Kingdom.
[00:09:02] After completing high school, Hassan El-Mohamadi continued
[00:09:06] drawing, reading, and researching independently to refine
[00:09:10] his talent. We used the sand
[00:09:13] and the nurturing environment of palaces and kasbahs
[00:09:17] as a source of inspiration.
[00:09:20] He wrote and drew in Arabic and Amazigh,
[00:09:23] and he used warm
[00:09:27] colors, the eternal colors
[00:09:29] of the region. And even writing, for example,
[00:09:33] the Amazigh or Arabic symbols,
[00:09:36] I write in the sand. The sand helped me a lot. It is my first
[00:09:40] sport. And thank God, those things
[00:09:43] that I used to see in my childhood,
[00:09:47] for example, in those cracks of the house that is plastered
[00:09:50] with clay, I now use them, for example, in some
[00:09:54] of my paintings, and almost even the clay
[00:09:57] with the straw, I use it
[00:09:59] with paint in some of my current paintings.
[00:10:03] And those symbols, those symbols, for example,
[00:10:07] in Amazigh or Arabic, I also use them in my
[00:10:10] paintings
[00:10:13] the residents and visitors, for example,
[00:10:16] in some exhibitions or in the exhibition we have here in the permanent
[00:10:19] shop. And also, for example, when
[00:10:23] we have exhibitions inside the country or outside the country, that touch of
[00:10:27] clay and straw
[00:10:29] the paintings, and even those symbols,
[00:10:32] Arabic or Amazigh symbols, and the colors
[00:10:36] of our region, always the warm
[00:10:38] colors, always.
[00:10:43] With bold steps,
[00:10:46] this field and expressed a Moroccan
[00:10:51] the enchanting desert nature into works of art.
[00:10:57] He is a lucky artist, as he combined playing Gnawa
[00:11:00] music and painting. And here
[00:11:03] he experiences these
[00:11:06] you don't see
[00:11:08] anywhere else. It is an opportunity
[00:11:12] for contemplation every time the colors
[00:11:15] of the sand change.
[00:11:19] The language of art is universal, uniting
[00:11:24] origins
[00:11:25] and roots.
[00:11:29] And the real embodiment of that is the story
[00:11:32] of the artist Hassan El-Mohamadi,
[00:11:35] who accompanied the French artist Johanna on her
[00:11:38] journey to the southeastern Kingdom.
[00:11:41] The artistic and personal
[00:11:44] relationship deepened, so he decided to get married,
[00:11:48] and with that began
[00:11:50] a new journey in Hassan's career.
[00:11:54] found what she was looking for
[00:11:57] in this region. portrait painting, which
[00:12:00] she loved, especially paintings that
[00:12:03] depict Moroccan
[00:12:05] and African faces.
[00:12:11] So in fact, I've been a painter
[00:12:14] for 25 years now, and I've always drawn
[00:12:20] of Africa or the Maghreb,
[00:12:22] perhaps a destiny to become so. So
[00:12:26] it's true that when I arrived here, of course, I met
[00:12:29] all the people, their gaze,
[00:12:33] their faces, it made me want
[00:12:36] even more to express all that through
[00:12:39] painting.
[00:12:42] Johanna was enchanted by the Kingdom,
[00:12:45] especially the Tafilalt region.
[00:12:48] The place became a source of inspiration for her,
[00:12:52] enriching her artistic journey with new
[00:12:55] works that she skillfully painted since she arrived
[00:12:58] in Morocco in 2007, coming from the city of Cognac,
[00:13:02] north of Bordeaux.
[00:13:10] From the moment I arrived here, I fell in love
[00:13:13] with the region, with the country itself.
[00:13:16] Even today, I still can't express with words
[00:13:19] what I felt, a kind of, I don't know...
[00:13:23] sorte je sais pas de...
[00:13:35] of hard work, Johanna was able to paint portraits
[00:13:38] of 23 sultans and kings of the Alawi
[00:13:42] Sharifian State, from Moulay Ali Al-Sharif
[00:13:46] to His Majesty King Mohammed VI.
[00:13:50] She researched
[00:13:53] and read documents and online
[00:13:57] about Moroccan history, especially the history
[00:14:01] and Tafilalt.
[00:14:04] So the idea
[00:14:07] of the Alawi dynasty came to me because,
[00:14:10] as I am very attached to this region,
[00:14:13] I wanted to know more, especially about the history
[00:14:17] of Sijilmasa, formerly
[00:14:20] Marouzi. So in fact, I studied, I studied
[00:14:23] history with my husband, with
[00:14:26] the internet, books. I studied,
[00:14:29] I really wanted to know
[00:14:31] more.
[00:14:36] Johanna, along with her artist husband, Hassan El-Mohamadi,
[00:14:40] worked on preparing these artworks with high quality.
[00:14:44] They used
[00:14:47] a painting and coloring process
[00:14:49] that involved mixing it with some grains of sand
[00:14:53] And here, Johanna achieved
[00:15:03] faces and writings, the texts
[00:15:06] I studied, and I felt
[00:15:09] the need to do something similar. In studying Moroccan history,
[00:15:13] I sought to know the faces of those who made
[00:15:17] history.
[00:15:22] The French artist Johanna organized her first
[00:15:25] painting exhibition when she was not yet
[00:15:29] twenty years old. After that, the journey continued
[00:15:32] to include various stops
[00:15:34] that crossed geographical
[00:15:36] boundaries. She exhibited her artworks in Germany, Belgium, and China,
[00:15:40] and eventually
[00:15:43] Morocco. She decided to research
[00:15:47] the ancient history of the Kingdom. She made field
[00:15:51] visits and conducted research
[00:15:52] in books and manuscripts.
[00:16:01] We did a lot of research, a lot on
[00:16:05] the internet. I worked
[00:16:08] based on the documents I found, paintings
[00:16:13] the era, and it was a very interesting
[00:16:17] work for me because I worked on the traces of the artists
[00:16:20] of that era, with their
[00:16:23] techniques, with their paintings, and it was
[00:16:27] really very, very interesting to pick up
[00:16:30] where they left off, like a path that we take
[00:16:34] little by little to try to find the faces
[00:16:37] of the sultans, while using my own
[00:16:40] techniques and my own painting, my own style.
[00:17:51] So I've always been very attracted to all the culture and
[00:17:55] history. So by painting these portraits, I really
[00:17:59] delved into history. I
[00:18:02] really lived in that era.
[00:18:06] By painting the portraits,
[00:18:09] I really became
[00:18:12] passionate about it. I researched the costumes,
[00:18:15] I researched the colors too, and then
[00:18:19] I tried to associate history with the
[00:18:22] character. I didn't just create the collection
[00:18:25] and study history separately. I studied history at the same time
[00:18:29] as I was creating the portraits. I felt
[00:18:32] like I was discussing a bit with them,
[00:18:36] creating.
[00:18:49] The French artist Johanna worked on intricate details
[00:18:53] as she masterfully painted portraits
[00:18:55] of the sultans and kings of the Alawi
[00:19:02] from the bright faces and towering inspirations
[00:19:06] to this
[00:19:25] French plastic artist, in form and content, forms that soft artistic power that
[00:19:28] expresses humanity
[00:19:31] and the legacy it left
[00:19:33] for humanity.
[00:19:47] In Morocco, art has always expressed the past,
[00:19:51] the present, and the bright future
[00:19:54] of men and women who skillfully built
[00:19:57] the renaissance of
[00:19:58] this nation.
[00:20:02] And today, they continue to connect the past with the present
[00:20:05] through a journey of growth
[00:20:10] led by a brave Alawi
[00:20:12] king, a king of hearts and minds,
[00:20:16] armed with the legacy of fathers and ancestors
[00:20:20] and with a keen vision for a bright future
[00:20:23] in which the Moroccan human is the goal and objective.
[00:24:12] In politics, the decision is the beginning of the story, and a stance makes a difference,
[00:24:16] and a vision rearranges time.
[00:24:21] Here, major questions are asked, viewpoints are received,
[00:24:25] opinions are scrutinized with evidence, and here, meaning is born from
[00:24:28] dialogue.
[00:24:30] But the story is not over yet, as there is
[00:24:34] more to say. This week's guest is Abdullah
[00:24:37] Bouanou, head of the parliamentary group of the Justice and Development Party.
[00:24:41] We will monitor with him the latest political
[00:24:44] and social developments in our country, and the position of youth within public
[00:24:48] policies and the challenges of establishing it.
[00:24:52] on the issues occupying the national scene as the legislative elections approach,
[00:24:56] and we will also look at the lamp's preparations for these
[00:24:59] elections and its vision for the map of competition
[00:25:02] and alliances. Dear viewers, you can
[00:25:06] interact with us by directing your questions and comments
[00:25:09] through the number and email address displayed on the screen.
[00:25:13] Wait for us on the first
[00:25:14] channel.
[00:25:19] God
[00:25:28] Mr.
[00:25:28] Mohammed.
[00:25:37] I only trusted the idea of bribery becoming common.
[00:25:43] If you understand them now, with this interest, these bribe-seekers,
[00:25:46] you will wait until your sugar is removed.
[00:28:20] On the Atlantic coast, the city of Rabat stands proudly,
[00:28:23] extending its wings along the bank of the Abu
[00:28:27] Regreg River. Every landmark, every
[00:28:30] building, every place in Rabat
[00:28:34] embodies the ancient Moroccan civilization.
[00:28:37] The Hassan Mosque and Minaret, a symbol of
[00:28:40] architectural splendor and a treasure of
[00:28:43] the City of Lights. The Grand Theatre
[00:28:46] is an example of the magnificent transformation
[00:28:49] that Rabat is witnessing.
[00:28:57] The National Library is one of the most important
[00:29:00] gateways to knowledge and learning, and it embraces
[00:29:02] the cultural and architectural structure of Rabat,
[00:29:06] with its buildings bearing witness to different
[00:29:09] stages of its rich history, including the
[00:29:13] Mohammed VI Museum of Modern
[00:29:15] and Contemporary Art.
[00:29:19] This museum is considered the first
[00:29:21] institution in Morocco to meet international
[00:29:25] standards in museum organization.
[00:29:28] It is the first museum to be established to be a museum, because other museums
[00:29:32] were historical buildings that were rehabilitated
[00:29:35] to become museums. The difference
[00:29:38] is that the Mohammed VI Museum was established to be a museum, meaning that at the
[00:29:41] level of engineering programming, it is a museum that meets all the requirements
[00:29:45] of exhibition and all the functions related to the field of museum work,
[00:29:49] including maintenance,
[00:29:51] preventive maintenance, permanent exhibitions, temporary exhibitions,
[00:29:55] diverse cultural programming, and so on. It was
[00:29:58] opened on October 7, 2014, established by Moroccan
[00:30:02] cadres, with Moroccan money, and with Moroccan minds.
[00:30:05] Its architectural
[00:30:07] style is characterized by the identity of the city
[00:30:10] of Rabat, linking the past and the present
[00:30:13] with a Moresque touch in a contemporary
[00:30:16] framework.
[00:30:24] The cultural aspect of the museum has three main
[00:30:28] components: an African component and a Mediterranean
[00:30:31] component related to all
[00:30:35] developments in the Mediterranean region, all schools
[00:30:37] related to formation, and finally,
[00:30:41] the component that focuses on the Moroccan scene.
[00:30:44] In addition to exhibitions, we used to hold press
[00:30:47] conferences. We used to host
[00:30:50] cultural representatives, cultural actors, people who
[00:30:53] are interested in culture, people who are also interested in cultural policies
[00:30:57] to enable and facilitate access.