CANALALGERIE — La chaine publique algerienne
20260813 080000 UTC
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[00:02:51] water has always been the main source of interest for
[00:02:55] man.
[00:03:04] joining us for the headlines in front of the city or in front of Basins and fountains are not contemporary
[00:03:07] researchers from displaced to the west of installations, many historians
[00:03:09] eco-gestures to save testify to their will it take? Or if it's about presence in ancient civilizations,
[00:03:14] agenda of evaluations of the
[00:03:23] the beautification of cities always involves the
[00:03:26] greening of sidewalks, small squares and roundabouts.
[00:03:30] but also by the installation of basins, fountains and water
[00:03:34] points in contemporary designs.
[00:03:41] Jamal left us only parsley in
[00:03:42] and meat, your heart is hard as
[00:03:48] Widely democratized, the fountain is experiencing
[00:03:51] in the 21st century a significant
[00:03:54] craze and evolution.
[00:04:05] were trying to disrupt the smooth oh denier, because of the always present in public up, mama. Let's not
[00:04:09] places, it is found today sometimes
[00:04:12] associated with minerals and other times with plants,
[00:04:21] the proper conduct project of
[00:04:27] the creativity of designers of water jets and basins.
[00:04:28] the bag? I put it where I usually put it in mixes elements to create
[00:04:32] atmospheres and
[00:04:34] their terrorist scheme, orchestrated from ambiances that will bring to
[00:04:36] from city dwellers this
[00:04:36] tie him to the mast so that he could freshness and this took soothing sensation that water
[00:04:40] emanates in all its forms.
[00:04:41] east
[00:04:50] despicable terrorist plot eco-gestures to save
[00:05:10] its arms, and you were facing
[00:07:19] and that allowed us, through Mariam's report, to
[00:07:23] take a little trip here to the Jardin d'Essais, which is
[00:07:26] open throughout the week, you can come
[00:07:30] and visit it, it's a moment that we spend, a moment of discovery
[00:07:34] above all. So, speaking of discovery, speaking of pleasant moments, speaking
[00:07:37] of supervision, I told you at the beginning of the show, so today
[00:07:41] we are going to receive an author choreographer who does very, very good
[00:07:45] work in terms of performing arts, but not
[00:07:48] only that, because she invests herself, speaking this morning accompanied by
[00:07:52] our guest, Madame Faïza Mameri, hello, marhaba bique, hello, hello
[00:07:56] to the whole Canal Algérie team, frankly, I'm very happy
[00:07:59] to be among you in a mythical place, the
[00:08:02] Jardin d'Essais, really, thank you very much. So, before
[00:08:06] we start, I wanted to tell you bravo for everything you do, it's still a big
[00:08:09] investment you're making, isn't it? So you are
[00:08:13] an author, you are a choreographer, so you have invested the
[00:08:16] stage for very, very long years, since I was little, that's it, since you
[00:08:20] were little, indeed, we talked about it in one of our
[00:08:23] issues, but today I would like us to go to a very sensitive,
[00:08:27] very important
[00:08:31] point, which is this segment of society that is none other
[00:08:35] than people with specific needs, and yet who never cease to impress us, Madame
[00:08:38] Amery. Listen, I would say
[00:08:42] that today they are more visible. Because I think that parents, uh,
[00:08:46] a few years ago, it was a taboo subject, so many of them didn't take them
[00:08:49] out much, so now there is, there is,
[00:08:53] let's say, an awareness from the
[00:08:56] population, the community, but also, I would say, partly
[00:09:00] the supervisory authority also that is investing, so we,
[00:09:03] as I want, I want to say, artists
[00:09:07] who are very interested in children with specific needs, because I tell
[00:09:11] myself somewhere, art is open, art is universal, it
[00:09:15] brings a lot to childhood in general, not just children with
[00:09:18] specific needs, I say children simply, and
[00:09:22] my role as an artist is to try to give
[00:09:25] something of this investment that I have, that I have
[00:09:29] acquired throughout my childhood, since I was born into an
[00:09:33] artistic family, and I have this attention and also this
[00:09:36] love for children, so I told myself, why not
[00:09:40] take an interest in them and try to... try to give them this
[00:09:44] access to art, to culture, but also in general to all the
[00:09:47] artistic sections that I teach at my academy.
[00:09:51] So what is, let's say, what is the interest they have
[00:09:55] or what discipline they are most interested in, or where it is
[00:09:59] easier, let's say, to supervise them? So when they come to
[00:10:03] us, we take care of them, there are several sections, there is the plastic
[00:10:06] arts section, the musical comedy, theater,
[00:10:09] dance, but I would tell you frankly, frankly, the section
[00:10:13] that interests them the most is dance, it's dance, yeah, it's dance,
[00:10:17] it's true that it's a moment where you let loose, it's a
[00:10:19] moment, they let themselves go, they are carried away
[00:10:23] by the music, and then the... music, you know very well that it liberates morals, it
[00:10:27] is also therapeutic for them, and this, this action
[00:10:31] of dancing but also of moving and also going on
[00:10:35] a theatrical act brings them a lot, and has seen over time
[00:10:39] because we have been taking care of them since 2009, huh, it's a long
[00:10:42] journey, it's a 17-year journey, yes, yes, and
[00:10:46] there have been conclusive results that make
[00:10:50] it clear that they are fully
[00:10:53] integrated into society.
[00:11:06] that's the best, that's the best approach, so they are included with other children, they open the stage, huh,
[00:11:10] they open the stage, we give them priority, we
[00:11:13] listen to them and we mix them with all the other
[00:11:16] children, it's, I want to say, killing two birds with one stone, because
[00:11:20] on the one hand, you take care of these people who need to be taken care
[00:11:24] of, but. the children, I will put in quotation marks, the normal children, these are
[00:11:27] also skills that you instill in them, it's to
[00:11:31] respect others, to come, sharing,
[00:11:34] diversity and also, it's also an
[00:11:37] education, you know there are parents who come to us and tell us, but
[00:11:41] frankly, you bring so much to our children because it's true that a
[00:11:45] child, when he sees a child with Down syndrome, he says, oh, but why, but when we integrate
[00:11:49] them together, there is this sharing, there is this love, it's
[00:11:52] frankly extraordinary. And I tell myself
[00:11:56] that thanks to them, I think I have
[00:11:59] developed my profession even more and it has brought me
[00:12:03] a lot as a person already, but I suppose that all the
[00:12:06] people who have walked this path with me have
[00:12:10] experienced emotions that are limitless,
[00:12:13] exceptional, exceptional, I imagine, it's an
[00:12:16] emotion at some point that we can't even
[00:12:19] explain, it gives them a part of integration
[00:12:23] into society because it is necessary. You have to know that with the experience I have
[00:12:27] had with them, there is this aspect beyond
[00:12:30] 18 years, they look for themselves in society, they don't have
[00:12:34] a place because they can't access jobs, so
[00:12:37] giving them this aspect of openness to come to our
[00:12:41] academy, and then there are even some who have had roles, roles
[00:12:44] of initiators towards others, for example, I have one who is called
[00:12:47] Fodil, well, you know that now he is a teacher with
[00:12:51] me, so he is there, he gives advice and he...
[00:12:55] transmits what he learned with me since 2009, okay, it's very important, you
[00:12:59] know, yeah, and I imagine, he has the tact
[00:13:02] for, he has the tact for, he is very, so they also have intelligence,
[00:13:06] you have to know that they are very intelligent, that's what I say, they impress us every time, yeah, yeah,
[00:13:10] yeah, yes, the only problem with them is actually
[00:13:13] learning, learning, you have to know that you have to be
[00:13:16] very patient with them, when we work with them, we
[00:13:20] can't get tired, on the contrary, we need to have a lot of patience because it's through
[00:13:23] repetition that they learn. And repetition can last for months,
[00:13:27] yes, I know that when I create a choreographic
[00:13:30] work, well, it's after 4 to 8 months
[00:13:34] of work that we can present a work,
[00:13:37] a work on stage, which is also a language, which is a
[00:13:41] transmission, which is also theater, we talk a lot
[00:13:44] about their daily lives, about what they feel, we
[00:13:48] also idealize their hopes, we also
[00:13:52] project a little bit
[00:13:55] what they feel themselves, you see, they talk a lot about love, huh, yes, they talk
[00:13:59] a lot about love, they are very affectionate, indeed, it's a lot of acts of love, they also talk
[00:14:03] about wanting to get married, I also want to
[00:14:07] get married, so to have a life uh
[00:14:10] finally normal, yes, absolutely, absolutely,
[00:14:13] and so you're doing psychology, literally,
[00:14:16] perhaps as an artist, I would say yes,
[00:14:20] you also have to listen, you have to listen, it becomes psychology,
[00:14:23] yes, it's therapeutic. It becomes psychology, it also
[00:14:27] becomes listening, uh also, uh talking with
[00:14:30] parents because parents also, somehow, some are
[00:14:33] introverted, hmm hmm, so it's a taboo subject, as I told you,
[00:14:37] yes, and I made a documentary and uh
[00:14:40] in this documentary I wanted to uh focus on parents, yes, I said
[00:14:44] uh please try to talk, you know it wasn't
[00:14:48] easy for parents because for them to talk about their
[00:14:52] child who has Down syndrome.
[00:14:56] Yes, it's still a delicate
[00:14:59] subject and uh I
[00:15:02] succeeded anyway and some mothers confided
[00:15:06] in front of the camera and then the children also
[00:15:09] tried to convey this joy of life in the documentary,
[00:15:13] moreover, if it were only a dream, and if it were only a dream,
[00:15:17] that was the title of the documentary, it talked about their dreams, their
[00:15:21] hopes, their hopes and in this documentary. we
[00:15:25] idealized and their dream was precisely each of them
[00:15:29] had a dream, one wanted to be an artist painter, another one
[00:15:33] wanted to be an actress in reality, huh, in
[00:15:35] reality. Does this kind of dream also come true? Well,
[00:15:39] yes, everyone wants it to come true, it's what you do, by the way, yes,
[00:15:43] their dreams came true, we followed them in the documentary, we
[00:15:46] followed them in their dreams, there were even
[00:15:50] partners who associated with us, another Fodil who
[00:15:53] wanted to be a conductor, so he had the chance to meet the conductor
[00:15:57] Mr. Lofissadi,
[00:16:00] well, yes, he allowed us to
[00:16:03] accompany him in Fodil's dream, we filmed him and it was
[00:16:07] extraordinary, this sharing, you can imagine, another one who wanted
[00:16:10] to be an actress, Lydia Base, another one who wanted to be an artist
[00:16:14] painter, whom we filmed here at the Jardin d'Essais, yeah, okay,
[00:16:17] it was frankly extraordinary, another one who
[00:16:20] wanted to be a model, who is magnificent and very, very beautiful, she wanted to be
[00:16:24] a model and her dreams came true, she
[00:16:28] approached a big fashion school
[00:16:31] and that realized Romisaou's dream,
[00:16:35] another one who wants to be a professional dancer.
[00:16:37] So you see, well, it's trivial, but it remains
[00:16:41] that we realized the dream, it's just this listening, this
[00:16:45] attention, that's what's beautiful, it's magnificent and they
[00:16:48] return it well too, yes, oh, well, I love them, they love
[00:16:52] me and we've been together for several years. So, you just
[00:16:56] mentioned a very, very important point, it's the point about parents, yes, because
[00:17:00] ultimately, you do your work at your level, but the work must
[00:17:04] continue at home, it must continue every day,
[00:17:07] because ultimately, it takes a whole world around these people
[00:17:11] and indeed sometimes parents feel a little
[00:17:14] overwhelmed, I always say that all children,
[00:17:17] huh, so any child does not come with an instruction manual, and so
[00:17:21] we learn to be parents and when it's a child with special
[00:17:24] needs, it's even more responsibility, of course,
[00:17:28] you have to know that parents always tell me, Madame Ameri, because we
[00:17:32] receive them twice a week, three times even, but not every day,
[00:17:35] they tell me, but what about the other days? What could we do? Yes, because
[00:17:39] they are left, as I told you, from the age of 18, they have no
[00:17:43] place, that's right.
[00:17:46] So we need to try to think about this question of
[00:17:49] socio-professional integration, yes,
[00:17:52] giving them small jobs, access to small jobs, I think that would be good for
[00:17:55] them to continue because you know, we have seen
[00:17:59] certain initiatives that were very
[00:18:01] interesting
[00:18:04] because in fact, they need simple jobs.
[00:18:07] To make them responsible in sorting too, in sorting
[00:18:11] packages, there was a action where, and moreover, from
[00:18:15] there, the reflection started, you know,
[00:18:17] for several years I have been with them and I have thought about
[00:18:21] this question of socio-professional integration
[00:18:25] and from there I thought about the idea of the
[00:18:28] festival, yes, so I created, so I
[00:18:32] am the founder of the "Living Together" festival, this festival
[00:18:36] in fact is celebrated. for a week because initially
[00:18:39] we celebrated World Down Syndrome Day
[00:18:43] yes, so we did actions, we did uh uh shows,
[00:18:46] we celebrated the National Disability
[00:18:49] Day, there too we approached
[00:18:53] disabled people because nowadays you have to know that there are several
[00:18:56] disabilities, there is visible and invisible disability, and
[00:18:59] invisible disability is also heavy for parents and these are current diseases,
[00:19:03] huh, these are new diseases that manifest in children.
[00:19:07] uh and there the parent is a little
[00:19:11] lost, they come to us and then art is
[00:19:14] there to provide this support and accompany the
[00:19:18] parent to free the child from the invisible
[00:19:21] disability because when you see the child, you say well there's nothing, like
[00:19:24] hyperactivity, that's also an invisible disability,
[00:19:27] other current diseases so
[00:19:31] precisely Madame Ameri, we have images of you, of
[00:19:35] your work at your academy. We are going to
[00:19:37] discover them together and you will just comment
[00:19:40] on these images, explain a little bit about the activities
[00:19:44] that you do with these children, so if we can just see
[00:19:48] this little excerpt, then
[00:19:51] it's a colossal work that you do, indeed, throughout the
[00:19:55] year, so not only, not
[00:19:58] only that, there you go, so tell us a little bit about
[00:20:02] your work at, well, I would tell you, uh, there was
[00:20:05] the academy, it's an academy that
[00:20:09] teaches art in general, that is to say, all artistic
[00:20:12] sections, that's why we say Academy of Performing
[00:20:15] Arts, so we teach theater,
[00:20:19] musical comedy, we teach music, so
[00:20:22] piano, guitar, violin
[00:20:25] and also classical dance and
[00:20:28] contemporary dance,
[00:20:33] and and so in contemporary dance, that's where the role
[00:20:36] plays. for children with special needs because it's true
[00:20:40] that I initiated some little girls in
[00:20:43] classical dance who had Down syndrome, it was
[00:20:46] to include them with little ballerinas. In fact,
[00:20:50] it was a very beautiful experience, but
[00:20:53] uh what brings them the most is really contemporary dance, why contemporary
[00:20:56] dance because it is closer to
[00:20:59] theater, that is to say, uh making
[00:21:02] a very simple movement, very simple,
[00:21:05] walking, we're going to see all that in images, let's go, we're going to see all that in images,
[00:21:09] come on, okay, specific, he gives, he's full
[00:21:12] of affection, he is always
[00:21:16] accept him, so indeed there is a
[00:21:19] will... that should be done in society.
[00:21:52] so it was an excerpt that we were discovering a little bit of your
[00:21:55] work and when we see the images, we see that the
[00:21:59] choreography is solid, huh, so these are not simplistic
[00:22:02] movements, one gets the impression that we are dealing with professional choreographers, I
[00:22:06] told you, they are extra, I took them with
[00:22:09] me to participate for two consecutive years in the festival in France at the
[00:22:13] House of the 21st Century, the House of the 21st
[00:22:16] Century is located in Saint-Dié-des-Vosges. in Saint-Dié-des-Vosges
[00:22:20] in France and they participated in a
[00:22:23] festival, you know, they made choreographers and
[00:22:27] psychologists in France cry, they made them cry, they told us, but
[00:22:31] Madame Ameri, how did you do it, because they, it must be said, have material
[00:22:35] to initiate their children with special needs, and we,
[00:22:38] it's simply the love that we give for them and the work, of course,
[00:22:42] repeatedly, from
[00:22:44] the beginning of the year until the end, that is to say, they are really included in
[00:22:48] classes. They learn the academic
[00:22:53] performing arts like all other children,
[00:22:57] the year they are really ready, there is a result, we have a result, but
[00:23:01] otherwise, Madame Mameri, you take them how many times a week, I told
[00:23:04] you, between two and three times a week, so so ultimately these are
[00:23:08] regular trainings, the
[00:23:11] others, that's it, yes, and as certain periods approach where
[00:23:14] there is the celebration of World Down Syndrome Day, National
[00:23:18] Day, more intensive where... I told you, I founded the "Living
[00:23:22] Together" festival which now lasts a week to 10 days and this festival
[00:23:26] starts from the National Disability Day on March
[00:23:29] 14th until World Down Syndrome Day on March 21st, so it lasts a
[00:23:33] week, a non-stop week of cultural
[00:23:37] and sporting events,
[00:23:40] also a day of
[00:23:43] semi-professional integration where I even approached
[00:23:46] company directors who allowed them
[00:23:50] to do semi-professional experiences with the staff
[00:23:54] and that's really extraordinary, meaning that this year we
[00:23:57] are in our 4th edition of the "Living Together" festival
[00:24:01] so we are really talking about tradition, oh yes, tradition,
[00:24:05] intense work, investment from my team and
[00:24:08] myself for them and at the same time for the other children,
[00:24:12] yes, that's right, for the other children too, these are
[00:24:15] full-fledged human skills, completely human
[00:24:18] that they, exactly, so ultimately you make people happy on both
[00:24:22] sides, happy and then I think I play a role for society
[00:24:26] too, certainly, it's very important, I make them visible,
[00:24:30] I make them beautiful, I make them
[00:24:34] like any person who says "here I am, I
[00:24:37] exist", that's it, I exist, simply. So it's a
[00:24:41] choice you made from 2009, it will continue, a choice I've had since my
[00:24:45] childhood, that humanitarian fiber that is in me.
[00:24:49] I love children in general, I defend children's rights in
[00:24:52] general, for me, a child is born to be happy, a
[00:24:56] child should not suffer
[00:24:59] the irresponsible
[00:25:02] consequences of adults, whether
[00:25:04] it's the responsibilities of
[00:25:08] war or poverty or misery, when I
[00:25:11] see a child begging in the street, it touches
[00:25:14] me enormously, when I see a child suffering, who is also
[00:25:18] subjected to violence by a... it touches me enormously and I say
[00:25:22] that a child should be happy, that's it, because he has all the time to be an adult,
[00:25:25] indeed, indeed, in any case, congratulations, Madame Marie, once again
[00:25:29] for everything you do, we'll find you again from September, yes, inshallah, for
[00:25:33] those who still want to register, of course, I tell all mothers who have
[00:25:36] children with Down syndrome or disabilities to
[00:25:40] approach Profile Academy, our Instagram page, and to come
[00:25:44] we have all that for their children, to help them and
[00:25:48] also so that their children can flourish at... Well, we congratulate you once again and bravo
[00:25:52] for everything you do, thank you very much Madame Marie for being with us, for accepting our
[00:25:56] invitation, very, very good continuation, to you and to all those
[00:25:59] around you, thank you once again and that's it, we've come to the end of our
[00:26:02] show, thank you very much for watching us, I wish you a very,
[00:26:06] very pleasant day everyone, enjoy your holidays, enjoy
[00:26:12] the sea, the beach and I'll tell you very, very soon, goodbye.
[00:55:04] Mustafa, stop.
[01:15:30] Wrapped in their secular clothes, the craftswomen
[01:15:33] adopt the same gestures as their ancestors to weave
[01:15:36] the famous Babar carpet named after the eponymous village
[01:15:40] 30 km from Hanchla. The women
[01:15:43] work sitting according to an immutable ritual that
[01:15:46] begins with wool that is washed and bleached, then the dye
[01:15:50] that is applied with the same natural pigments for
[01:15:53] centuries.
[01:15:59] He wants to make rugs in their command.
[01:16:02] They love
[01:16:05] our association specializes in the raw material of the Babar
[01:16:08] carpet which is wool
[01:16:11] with the pomegranate peel,
[01:16:14] beetroot, tea,
[01:16:15] onion.
[01:16:20] And each pigment gives a precise color. The pomegranate
[01:16:24] peel gives this color, the
[01:16:28] tea gives this one, the beetroot gives
[01:16:30] red.
[01:16:34] We prepare the wool at the beginning of
[01:16:36] each spring.
[01:16:43] After dyeing, we move on to weaving. Before,
[01:16:46] weaving was done in groups, people united
[01:16:49] to make a carpet, but now it's no longer the case. So we
[01:16:53] spend a lot of time making a
[01:16:56] carpet, especially when we are alone. We try
[01:17:00] at all costs to preserve this heritage that represents
[01:17:03] us and represents our village.
[01:17:07] Our ancestors,
[01:17:08] we cannot
[01:17:12] Then comes the combing, the defelting, the
[01:17:15] carding, and finally the spinning, each of these
[01:17:19] steps consists of patiently and tirelessly
[01:17:21] repeating the same movements one after the other
[01:17:25] with the same precision until a solid thread is obtained,
[01:17:29] the central element of an ancient
[01:17:31] weaving.
[01:17:38] I master all the steps related to weaving, from
[01:17:42] carding to setting up the loom,
[01:17:45] I appreciate each of the different phases of
[01:17:48] weaving. Carding is an important step in highlighting
[01:17:52] the thread.
[01:17:56] After washing and drying the wool, it is passed
[01:18:00] through this metal basket to untangle it and
[01:18:03] thus make it more malleable. The next step is
[01:18:07] carding and defelting. It was my mother who taught me the art of
[01:18:11] weaving. At first it was difficult, but with time you
[01:18:14] learn and get used to it. Today, the art of weaving
[01:18:18] has no secrets for me, it's almost natural, especially since I absolutely
[01:18:22] master all phases of weaving. The most
[01:18:25] difficult is the weaving itself, because
[01:18:29] it requires a lot
[01:18:32] finesse and precision. We have no room for
[01:18:35] error, this can be.
[01:18:40] The wool and the rest are now easy for me, it's something
[01:18:43] normal.
[01:18:46] the preparation of the zota loom is a crucial
[01:18:50] step that can take several hours or even a full
[01:18:53] day depending on the size of the carpet, and to soften the
[01:18:57] long and laborious work of weaving, it is approached with
[01:19:01] good omens, and that is how the preliminaries
[01:19:04] would consist of breaking candies on the bases, by
[01:19:08] scattering them with joy on the wooden
[01:19:11] parts of the loom, essentially composed of metal
[01:19:14] pieces and wooden planks, azta has been
[01:19:17] historically the same for
[01:19:19] centuries.
[01:19:27] To set up a loom, the presence of at least three women
[01:19:30] is absolutely necessary: the first installs the base, the second unrolls
[01:19:34] the wool, and the third places the wood.
[01:20:08] What you see there is called sfaha, that's the base
[01:20:11] of the loom. If there is no sfaha, there will be no
[01:20:14] loom. Before starting, we sprinkle
[01:20:18] our loom with candies so that the weaving is
[01:20:21] as light as
[01:20:22] it is soft.
[01:20:27] The carpet in my eyes is the one I made for a whole
[01:20:31] year. I would not sell it for anything in the
[01:20:34] world, even if I were given more than...
[01:20:47] tenacious hands weave thread after thread, and
[01:20:50] wool gradually comes to life while
[01:20:53] the motifs are elaborated colored or original
[01:20:57] variegated or plain according to the inspiration or the means
[01:21:00] available to the weaver. This elder,
[01:21:03] for example, maintains that natural
[01:21:06] pigments are currently so difficult to find that she has moved from
[01:21:10] variegated to black and white, a binary color that does not
[01:21:13] detract from the charm of an antique
[01:21:15] Babar
[01:21:20] carpet.
[01:21:22] 16,
[01:21:26] I started weaving at the age of 17,
[01:21:29] practically all members of my family, including my seven sisters, well known in
[01:21:33] the region, are weavers, so I learned this
[01:21:36] art at home and very... The Babar carpet is a family
[01:21:39] affair that was inherited. Before, the Babar carpet
[01:21:43] was an absolutely essential product since it was used
[01:21:46] as bedding. It was made in shades that we
[01:21:49] fashioned ourselves. Before, dyeing specialists would travel
[01:21:53] to villages to dye wool in different
[01:21:56] colors with natural pigments that were particularly
[01:21:59] resistant. Currently, there are fewer and fewer
[01:22:02] pigments, which has led me to work in only two
[01:22:06] colors to preserve the authenticity of the carpet instead
[01:22:09] of altering it with artificial pigments.
[01:22:11] As the
[01:22:15] weaving progresses, the geometric or symbolic
[01:22:19] patterns take shape. In general, these
[01:22:22] signs and symbols have been the same for generations. However,
[01:22:26] they can vary depending on the inspiration of the
[01:22:29] weavers. Of ornamental or simply
[01:22:33] allegorical value, these signs and symbols can come from
[01:22:36] nature, the environment or a secret that only the
[01:22:40] weaver is able to
[01:22:42] communicate.
[01:22:48] There was the wedding, the draga,
[01:22:52] there are different types of Babar carpets, there are small ones that are
[01:22:56] 1m by 2m, others are larger, 6m by 3m,
[01:23:00] it's as we want, the weaver is free to choose the dimensions
[01:23:04] that suit her. There are carpets intended for the bride,
[01:23:07] others for ornamentation, others still that are used as
[01:23:11] covers, the carpet that covers the floor is generally very
[01:23:14] thick, we even weave small framed carpets,
[01:23:18] cushions in the bride's trousseau. Cushions and the ornamental
[01:23:22] carpet are obligatory. The symbol
[01:23:25] like the one you see here is very common on carpets,
[01:23:28] but most of the geometric
[01:23:32] nature and especially from animals. The Babar
[01:23:35] carpet contains a huge number of signs and symbols
[01:23:39] that are increasingly undervalued, increasingly
[01:23:41] undervalued because of its heaviness. We, artisans, are doing everything to
[01:23:45] lighten it and, of course, preserve this heritage unique to our
[01:23:49] village.
[01:24:12] I am a health sector
[01:24:16] rug maker at the same time. Functions.
[01:24:20] I also practice weaving, which for me is more than a
[01:24:23] vocation. I grew up with the loom,
[01:24:27] it is a central element of our homes and those of my
[01:24:31] family. I am proud of this heritage, which is a true
[01:24:34] bridge to our memory. I can tell you that I was weaned on weaving
[01:24:38] from my mother's milk, she would weave while carrying me on
[01:24:41] her lap. Today, as soon as I have a little time, I run
[01:24:45] to the loom with my sisters and my mother, may
[01:24:49] God protect her.
[01:24:54] May God protect her and prolong her life. It is increasingly rare for
[01:24:58] Babar carpets to find buyers due to their
[01:25:01] high price. Nevertheless, workshops exist in this
[01:25:04] village that proudly celebrates this heritage as much
[01:25:08] as the art of weaving is so deeply rooted, so
[01:25:11] ingrained in the hearts of the villagers that it is
[01:25:14] passed down from generation to generation.
[01:25:17] Today, the Babar carpet is even...
[01:25:20] Stamped as a real jewel that is
[01:25:23] punched to engrave its eternal
[01:25:26] purity forever.
[01:26:11] Good evening, friends, delighted to
[01:26:14] see you again, so summer in music, it's your
[01:26:18] appointment during the summer season, we are
[01:26:21] in, yes, yes, we are
[01:26:25] the
[01:28:03] Hello and welcome. As you can see, we are in Cherchell. We
[01:28:07] came to meet a child of the city, but also a precious
[01:28:10] witness to what the sea protects at our doors. This is
[01:28:14] Nazim Ben Saleh, an archaeologist specializing in
[01:28:17] underwater heritage.
[01:29:19] Cherchell which continues until today, it started
[01:29:22] the adventure in 2010 and continues until
[01:29:25] 2026 and also with many friends. So through my studies
[01:29:29] as I carried out my schooling in Cherchell and also the sports I did
[01:30:13] in Cherchell allowed me to have a network of
[01:30:17] friends until now, until today. We are going to meet this
[01:30:20] afternoon, we are going to go to the nautical activities center of
[01:30:24] Cherchell, the nautical base of Cherchell. We are going to go
[01:30:27] diving for our greatest pleasure, with great pleasure.
[01:30:30] born in its arms and... in its history, contributing also to its
[01:30:34] history? Cherchell is an extraordinary city
[01:30:38] that that precisely gave me this
[01:30:42] this inspiration and this
[01:30:45] this passion which is archeology and also the
[01:30:48] sea. So I had
[01:30:51] started very young with my
[01:30:54] father to go precisely to discover what was under
[01:30:57] the water, by going fishing for sea
[01:31:00] urchins, fish, etc. So to discover what was under
[01:31:04] the water, all the marine biodiversity, and also
[01:31:08] not only in the sea, Cherchell is also a large forest, so
[01:31:12] all the mountains of the Dahra, etc. And this discovery
[01:31:15] also of nature so
[01:31:19] in general, which
[01:31:22] allowed me to have to to receive this
[01:31:25] passion for the sea and for archeology through the different sites in the city,
[01:31:29] he has this unwavering bond, this heritage that you inherited from your father. He is an archaeologist
[01:31:33] of course, Abdelkadir Ben Saleh, you were able to restore mosaics,
[01:31:37] sites too, very young, I frequented archaeological sites with him
[01:31:41] during the excavations they organized during the 80s,
[01:31:43] I would mention the excavation, the large
[01:31:47] excavation of the Boufferic site, it's a neighborhood in Cherchell called Bouffaric
[01:31:51] and not the city, so very young he took me with
[01:31:54] him and I already frequented at that time
[01:31:57] certain people who later became my
[01:32:01] colleagues. So, already a baby, I must have been 2
[01:32:04] years old when I started going to the sites with him
[01:32:08] for the excavations, etc. And I think that
[01:32:11] unconsciously it made me want to take over the torch, so to
[01:32:15] speak, and to continue this adventure of archeology, I grew up
[01:32:19] in a large loving, caring family,
[01:32:22] etc. My grandparents with us,
[01:32:25] my father, my mother, so
[01:32:28] we were really very close, very united, my brother,
[01:32:32] my sister, and also there was the extended family, so the
[01:32:36] cousins, uncles, aunts, etc. You went to a small school
[01:32:39] here, so the small school, primary, CEM,
[01:32:43] high school before joining the University of Algiers
[01:32:46] 2. I followed all my schooling here in
[01:32:50] Cherchell, from primary school to high school,
[01:32:54] I did, uh, we'll say
[01:32:56] like everyone else, the Algerian
[01:33:00] public school where... I was very happy in
[01:33:03] Cherchell because we weren't many already
[01:33:07] and the teachers already made us want at
[01:33:10] the time to look into
[01:33:13] the history of this city. It was
[01:33:16] every year we had to go to the archaeological sites, to the museums, go
[01:33:20] to the forest, etc. We are in an ancient city, an eternal
[01:33:23] city that saw King Juba II
[01:33:27] arrive, his wife Selene
[01:33:31] Cleopatra. They built a dynasty, they made
[01:33:35] the city flourish, Caesarea of Mauretania,
[01:33:38] and you lived in
[01:33:42] the sea. Cherchell has always...
[01:33:46] lived through history, its history has never stopped,
[01:33:50] even if sometimes
[01:33:53] it, it slowed down a bit, the
[01:33:56] rhythm, but Cherchell, which was first
[01:33:59] the capital of Mauretania Caesarea,
[01:34:02] with Juba II, his wife Cleopatra Selene,
[01:34:05] after them their son Ptolemy, it
[01:34:08] continued to live precisely
[01:34:13] antiquity. Where the rhythm regressed
[01:34:16] a bit, but it continued to live through
[01:34:20] precisely the transfer, the transfer of
[01:34:23] families who came from Andalusia in
[01:34:25] 1492, so it came back to life at that
[01:34:29] time and through Emir
[01:34:32] Abdelkader with the colonial invasion,
[01:34:35] the emir came precisely to
[01:34:38] try to reorganize the revolution, the
[01:34:42] revolt against the invader here in...
[01:34:45] cherchelle quand j'ai fini mes études d'archéologie donc je suis
[01:34:48] parti vers le milieu associatif parce que je sentais que je devais donner
[01:34:51] justement à la société quelque chose et on avait
[01:34:55] créé marinostrum euh
[01:34:59] l'environnement et du patrimoine ici à cherchel qui continue jusqu'à
[01:35:03] aujourd'hui hein de 2000 elle a a commencé l'aventure en
[01:35:06] 2010 elle continue jusqu'en 2026 et aussi avec beaucoup
[01:35:10] d'amis donc à travers mes études
[01:35:13] donc comme j'ai effectué mascola. à Cherchel et aussi les sports que j'ai fait
[01:35:17] à Cherchel m'ont permis d'avoir un réseau
[01:35:20] amical jusqu'à maintenant jusqu'à aujourd'hui, on va se retrouver cet
[01:35:24] après-midi, on va aller au centre des activités nautiques de
[01:35:27] Cherchelle, la base nautique de de Cherchelle, on va voir
[01:35:31] plonger pour notre plus grand plaisir, avec grand plaisir.
[01:36:26] I remember well in the 70s we were young,
[01:36:30] we ventured to the white rock, there
[01:36:33] was no access, it was wild, we
[01:36:37] dove, we were with a
[01:36:40] salapon.
[01:36:45] And I always dive in that area. One time
[01:36:48] when I dove, I saw something
[01:36:51] bizarre. That cannon, that was not
[01:36:55] clear that it was something from a cannon. And
[01:36:57] we started looking. Finally, there were cannons, more than
[01:37:01] 23 cannons. There were cannons of 2
[01:37:05] meters. There were small ones. The small ones are
[01:37:09] what's left at the bottom in the gallon, and the large
[01:37:12] cannons are banked. In short,
[01:37:15] I spent
[01:37:17] passé
[01:37:20] more than 2 years. Then I called
[01:37:24] people who
[01:37:25] are interested.
[01:37:29] And there was, there was a, I
[01:37:32] forgot his name, Amroush, I know Amroush.
[01:37:35] Well, he changed his
[01:37:37] activity. There were the marifs who arrived.
[01:37:41] Association, association, it was Mostafaouna.
[01:37:50] Uh, then they came, they
[01:37:52] did the study on the cannons, it was
[01:37:56] magnificent. So they discovered that the
[01:38:00] cannons dated back to 1400
[01:38:03] and it was it was not a
[01:38:06] battle
[01:38:08] because there was a bottom that was 6-10 meters
[01:38:12] deep and suddenly the bottom
[01:38:15] rises, rises. Yes, it's here that they ran aground and when
[01:38:19] the galleon capsized, the cannons
[01:38:23] capsized on the
[01:38:26] side. They are still there. Yes,
[01:38:29] he called the army
[01:38:32] and the museum and
[01:38:36] the PC too, the wilaya did all that
[01:38:39] to facilitate things.
[01:38:42] The Marinostro association.
[01:39:57] my childhood, more precisely since high school,
[01:40:01] and he's the one who pushed me a bit to do archeology. So
[01:40:04] it's with him that I started this adventure of
[01:40:07] archeology, at the beginning in general, so terrestrial archeology. We
[01:40:11] shared during all the years of
[01:40:15] faculty, we shared many moments of excavations,
[01:40:18] construction sites, trips here in Algeria, inland,
[01:40:22] abroad. And that's it,
[01:40:25] it's many years.
[01:40:28] He gained a lot
[01:40:30] of experience everywhere, and that's what created
[01:40:34] this complicity
[01:40:37] underwater archeology, he did a lot of terrestrial archeology. And then,
[01:40:41] of course, in the sea or underwater.
[01:40:45] And it's true that it's very important that the duo
[01:40:48] must work well together underwater,
[01:40:51] especially with regard to safety.
[01:40:54] I think that we were among the pioneers in underwater
[01:40:58] archeology. We started
[01:41:01] the adventure about fifteen
[01:41:04] years ago, when we had just finished our studies.
[01:41:08] We were already in position, settled,
[01:41:11] and we said, since we love
[01:41:14] the sea and we love archeology, why not
[01:41:18] combine the two and embark on this adventure? The beginnings were not easy.
[01:41:22] Yes, now when we see the progress made, I think
[01:41:26] it has come a long way. Not bad. Rafik is the director
[01:41:29] of the laboratory of historical and archaeological studies
[01:41:33] of Tipaza. And within
[01:41:36] this laboratory, he has the aspect of underwater
[01:41:40] archeology within the center where I work, the CNRA, the National Center for
[01:41:44] Archaeological Research. Similarly, it launched this
[01:41:47] discipline of underwater archeology, and so we try
[01:41:50] to always work in collaboration between our two institutions
[01:41:54] and also between people. It's important
[01:41:57] to get along well underwater, as he said, and to have this
[01:42:00] complicity in reality.
[01:42:04] First, it's essential for our safety to work
[01:42:07] with at least two people. Then we form
[01:42:11] our group. He trained students precisely so
[01:42:14] that they can support us in our research.
[01:42:17] He also succeeded in sending
[01:42:21] students to train abroad, as I did
[01:42:25] before. We
[01:42:27] went several times as a group, I repeat,
[01:42:31] to train abroad
[01:42:34] in excavations in Greece. He
[01:42:36] did professional diving in France, etc.
[01:42:40] And so that allowed us to
[01:42:44] progress and to make this discipline progress in Algeria. So
[01:42:47] communicating underwater technically is done
[01:42:50] through a sign language, if you will, that
[01:42:54] we learn through the
[01:42:57] training we do as soon as we start diving. Besides
[01:43:00] sign language, with, again, this
[01:43:04] experience and, again, these years spent together, there
[01:43:07] is a certain communication that cannot be explained.
[01:43:11] He has always played cards with Nazim, we were partners in card
[01:43:15] games and our friends always told us, "Oh no, no, you're cheating, it's not
[01:43:19] normal that you have this communication."
[01:43:22] Exactly, we played a lot of "going" and our friends told us, "No, no, this
[01:43:25] communication is not normal."
[01:43:27] And underwater sometimes I understand him, I
[01:43:31] know what he wants and he also knows what
[01:43:34] I want or what I need
[01:43:37] technically in relation to what we have to do underwater.
[01:43:41] It's by looking, it's by feeling and it's underwater too, we
[01:43:45] write a lot, meaning we have slates with us, submersible
[01:43:48] slates where we can write. So, when it's time
[01:43:51] to ask Rafik anything, I write to him,
[01:43:55] he replies in writing. That's when it gets complicated, when we
[01:43:58] find something we can't explain etc.
[01:44:02] So we communicate this way, we write first. Then all that
[01:44:06] concerns diving, we have the diver's
[01:44:09] signals, conventional, used everywhere in the world,
[01:44:12] the okay, we go up, we go down, we stop the dive
[01:44:16] etc. And so that's normal, in addition to
[01:44:19] this complicity that we both have, or the whole group. The first
[01:44:23] core of underwater archaeologists was
[01:44:26] created within our laboratory, the laboratory
[01:44:29] of historical archaeological studies at the University of Tipaza. And it's
[01:44:33] here that this laboratory brings together this core
[01:44:36] of underwater archaeologists. We are and we
[01:44:40] were six, so from different institutions,
[01:44:43] Nazimo Seenara, us at the University of
[01:44:47] Tipaza, another colleague from the University of Guelma, other colleagues who were previously
[01:44:50] at the maritime museum. So it's all these
[01:44:54] skills that came together,
[01:44:56] in a single core, and worked on several common
[01:45:00] projects. Who dives better than
[01:45:04] anyone? So technically there are perhaps
[01:45:07] people who are more competent than others. Nazim is very
[01:45:11] complete, for example, Nazim, we rely on him for the aspect of
[01:45:14] preparation, management of dives and
[01:45:18] projects because he already has the experience, he has the training, the extra he has is that he
[01:45:22] did a specialized master's in coastal and maritime
[01:45:24] archeology. Afterwards, I pushed
[01:45:28] all these beautiful people to go diving, to do
[01:45:32] this underwater archeology since I had
[01:45:35] worked previously on this subject on my...
[01:45:40] But sincerely, everyone has their areas of expertise and everyone has their
[01:45:44] technical skills in the field.
[01:47:09] Today. We questioned the silence of the depths,
[01:47:13] where the sea still protects what was once our daily life.
[01:47:17] Tomorrow, the tumult of the waves will give way to the nobility of
[01:47:20] marble. There, at the National Museum of Cherchell, we
[01:47:24] find Nazir bin Salah, here at the heart of his
[01:47:27] history, which merges with the history of Caesarea of
[01:47:30] Mauretania, to bridge the gap between the submerged
[01:47:34] mysteries and the heritage that we have a duty to protect and to
[01:47:37] transmit.
[01:47:55] As we've already said, each object, each piece of
[01:47:58] this prestigious museum has a
[01:48:01] story, and a story often linked to your family's history
[01:48:05] and/or your history,
[01:48:07] uh, indeed, we are in front of...... this lion statue
[01:48:11] which was found on a
[01:48:14] beach next to the Ténès gate in Cherchell,
[01:48:17] uh, and which would date from the 1st century,
[01:48:20] uh, apparently, and
[01:48:24] uh, this statue, it's linked, I
[01:48:27] would say, first of all, it's my father and his colleague who fortuitously
[01:48:30] discovered it on the beach, they carried
[01:48:34] it by hand to bring it to the Cherchell museum,
[01:48:37] and today it's highlighted. So the
[01:48:40] second thing is that it's an object that
[01:48:42] comes
[01:48:46] the part, the object was
[01:48:49] found underwater, so naturally it has a history with underwater archeology,
[01:48:52] uh, that's why we're in front of this object
[01:48:56] today, it's highlighted precisely at the
[01:48:59] museum to show what it
[01:49:02] was used for in the 1st
[01:49:05] century. So it was a fountain and we
[01:49:08] see the museum precisely staging
[01:49:11] it in front of a basin where water
[01:49:15] came out of the lion's mouth. And so this is perhaps the place where
[01:49:18] everything was decided for you.
[01:49:21] Probably? By your father's profession, to whom
[01:49:25] we pay tribute in this museum, they are borrowed
[01:49:28] everywhere. It's perhaps from there that it all started, without
[01:49:32] wanting to influence us, I think that my father did it
[01:49:35] indirectly. Uh,
[01:49:39] well, we oriented ourselves by nature or by passion
[01:49:43] also naturally in this field, in
[01:49:46] archeology, in history, etc. because we have always
[01:49:50] been immersed in it in the end.
[01:49:52] And when we talk about binning, I specialized in underwater archeology.
[01:50:20] What did your father
[01:50:23] transmit to you that was most precious in the way
[01:50:26] of looking at an object, an archaeological object, of course?
[01:50:29] Uh, I would say that the most
[01:50:33] important thing was precisely the transmission, this transmission of
[01:50:36] heritage. It was a motto for him, he always
[01:50:39] told us that cultural heritage does not
[01:50:43] belong to us, it's just
[01:50:46] a message that we must keep and preserve,
[01:50:49] conserve for future generations. So
[01:50:53] it's really the motto that I
[01:50:56] think is the most important that I got from my father. We
[01:51:00] are in front of a mosaic, a special
[01:51:04] mosaic, the mosaic of the nine muses. You have,
[01:51:07] well, special of course for Algerian heritage, for Algerian
[01:51:10] mosaics, but also because you have a history with this
[01:51:14] mosaic. Yes, indeed, this this large mosaic which
[01:51:18] was restored
[01:51:20] by my father and his team, he had chosen
[01:51:24] to train people in mosaic restoration
[01:51:28] in 2002
[01:51:31] where they completely dismantled this mosaic which was
[01:51:34] very fragile at the time, so its support was very fragile, they had to
[01:51:38] dismantle it, lay it on the ground to
[01:51:42] try to restore it, so tessera by tessera, what we call tessera are the small
[01:51:45] cubes that make up the mosaic. Once
[01:51:49] laid on the ground, they were surprised that
[01:51:52] I remember in 2002 because it stressed him out a lot
[01:51:56] for the anecdote, it was also that
[01:51:59] the subsidy stopped and it was at that
[01:52:03] moment that he gave his speech to the whole
[01:52:06] team saying, "The mosaic is on the
[01:52:09] ground, should we restore it or not?" So
[01:52:13] that's when everyone said, "Okay, very good, we'll take on the
[01:52:17] challenge." They all contributed to buy plaster,
[01:52:20] to buy materials, etc. And they reassembled it and
[01:52:24] here it is today, still standing after
[01:52:28] more than 15 years, 15 years, 15 years after or
[01:52:32] 20 years after its restoration, it is still standing and present to
[01:52:35] be seen by future generations for centuries
[01:52:39] and centuries, and stories, anecdotes,
[01:52:42] you have many of them in this prestigious place
[01:52:46] with your father or without your father for that matter. We could say that
[01:52:50] I acquired this love for heritage, for archeology, so
[01:52:53] necessarily I had to discover
[01:52:57] these places myself and also try to discover
[01:53:01] all that this
[01:53:04] museum hides, the other museum as well, and the whole city of
[01:53:07] Cherchell, we could say. It started like that, this love for heritage,
[01:53:11] it's curiosity that pushed me to perhaps
[01:53:14] see what's underground and even underwater. So
[01:53:18] necessarily there's this influence.
[01:53:20] a very beautiful, magnificent
[01:53:50] fountain. It's a fountain dedicated to the myth of Ulysses
[01:53:53] with the sirens, so when Ulysses asked his crew to
[01:53:59] hear the song of the sirens and not be able
[01:54:02] to go,
[01:54:05] it's also a way of showing
[01:54:08] precisely all the maritime past of the city
[01:54:11] of Cherchell, which is interested
[01:54:15] in the myths of the
[01:54:18] sailors of that time, so all the mythology.
[01:54:22] And the sailors, etc. And it was also a
[01:54:26] way to show the relationship between
[01:54:30] Cherchell Caesarea, so ancient Caesarea and its
[01:54:34] relationship with the sea. Uh, it
[01:54:37] allowed me, I would say, to focus
[01:54:40] and to focus my research to go
[01:54:44] see what happened underwater, what is currently hidden underwater,
[01:54:47] and it's, well, it
[01:54:51] deserves to be looked at and highlighted
[01:54:55] and preserved
[01:54:56] too.
[01:55:41] We are delighted to meet you at the National Center for Archaeological
[01:55:43] Research, the CNRA of Tipasa, your
[01:55:47] workplace, also a place of reflection
[01:55:50] and research. It's a center created in 2017
[01:55:54] and which has a mission, which is in fact under the supervision of the
[01:55:57] Ministry of Culture, but which also has a mission to
[01:56:01] preserve, map, analyze
[01:56:04] too. Make interventions, many
[01:56:07] missions that you share with your colleagues,
[01:56:10] archaeologists for the most part, but you are
[01:56:13] specialized in underwater heritage,
[01:56:16] exactly, thank you and welcome to the National
[01:56:19] Center for Research in Archeology in Tipasa.
[01:56:23] Indeed, we have several missions in the
[01:56:27] development of archaeological research here in Algeria throughout the Algerian territory.
[01:56:31] Uh the center has
[01:56:35] uh enormously many specialists
[01:56:38] who come from
[01:56:40] different
[01:56:43] uh specialties, not just in archeology. We already have architects,
[01:56:46] topographers, etc. And
[01:56:49] uh with all this multidisciplinary approach, I would
[01:56:53] say, there is uh precisely
[01:56:57] something to develop, or the center is a
[01:57:00] good
[01:57:01] catalyst,
[01:57:04] a locomotive, let's say, for Algerian archaeology. So this is
[01:57:07] where everything begins. Okay, but you will tell us how you joined
[01:57:11] after studying at the University of Algiers
[01:57:15] 2, University of Buzereha. You did a
[01:57:18] normal archaeology course, yes, yes. How did you
[01:57:21] how did you, let's say, get into the water, into underwater
[01:57:25] heritage? Indeed, uh I
[01:57:28] first started as an archaeology student at the University of
[01:57:32] Buzera, as you said. Uh I
[01:57:35] then did a master's degree here in Algeria.
[01:57:38] Uh then I went to
[01:57:41] specialize, so after working at
[01:57:43] OGEBC, I did my specialization in underwater
[01:57:47] archaeology abroad where I participated in a
[01:57:50] master's degree that has a UNESCO chair called
[01:57:54] Master of Maritime and Coastal
[01:57:57] Archaeology. The Montmarc exactly in
[01:58:01] Marseille, and uh it was from there that, let's say,
[01:58:05] uh the real research
[01:58:08] in underwater archaeology began, because I was able to acquire techniques that I
[01:58:12] didn't have before. I was self-taught, even if I was diving, I was doing my
[01:58:16] research on underwater archaeology, but it was from this master's degree that I
[01:58:20] was able to acquire the techniques uh that are used around
[01:58:23] the world precisely uh to be able to do purely
[01:58:27] scientific research and
[01:58:30] adapted to underwater archaeology. Exactly. Basically, when you
[01:58:33] do you are... at that time, there was no module
[01:58:37] dedicated to underwater heritage. It was later,
[01:58:40] the work was undertaken
[01:58:43] notably by the researcher Hamoum, but how did you get
[01:58:47] into the water? The sea is already a childhood passion, like archaeology,
[01:58:50] right? So after how to combine the two, well, I didn't
[01:58:54] see any other way than to do precisely this
[01:58:57] specialty by trying to combine the two,
[01:59:01] the sea and archaeology. And what made me...
[01:59:05] what pushed me to
[01:59:08] go searching in other horizons for what was being done,
[01:59:12] etc., in order to develop this discipline
[01:59:16] uh in Algeria. At the time, there was
[01:59:19] no such specialty. It was not
[01:59:23] specialists who had previously
[01:59:27] done this discipline, and so there was a
[01:59:30] lack, and that lack had to be filled, and I think
[01:59:33] that at the time I had made the best decision to go
[01:59:37] and develop myself in this field to then
[01:59:40] try to develop it and be
[01:59:44] among the pioneers in this field. It was really close
[01:59:48] to my heart. You did restoration, you touched the remains on dry
[01:59:51] land, but what is the difference with the
[01:59:54] heritage that is underwater? It is still a heritage,
[01:59:57] it is also remains, it can be artifacts, it can
[02:00:01] be jars, well, it can be a lot
[02:00:04] of pieces. I would say that the underwater environment
[02:00:07] better preserves archaeological artifacts. So
[02:00:11] uh the English call it
[02:00:14] a time capsule, so a time
[02:00:17] capsule that is underwater, and it's up to us to go and
[02:00:21] discover it because it remains intact in general.
[02:00:25] Uh it is not modified by
[02:00:28] any entropic aspect whatsoever over time.
[02:00:32] Uh on ancient cities, for
[02:00:36] example, there is this succession of
[02:00:39] civilizations. Uh so each civilization tries in a
[02:00:43] way to displace another or erase another. But
[02:00:46] underwater, there is no such aspect. That is to say, what we find
[02:00:50] underwater remains intact until its discovery, apart
[02:00:53] from some alterations due to the environment, etc.,
[02:00:57] but the erosion of time, the erosion of time, also
[02:01:00] the water, when the object is underwater, it is better preserved
[02:01:04] because it does not oxidize, so it has less oxygen,
[02:01:07] and obviously oxidation does not alter the archaeological object.
[02:01:10] And every time we discover something underwater, generally
[02:01:13] we are amazed by the beauty of the thing because it remains intact
[02:01:17] and we find it as it was
[02:01:20] lost at the time. When you come across an ancient object, a piece of
[02:01:24] remains, you should especially not move it and
[02:01:27] take it out, especially for those who fish underwater, because
[02:01:30] normally those who do it, there is prevention to be done anyway
[02:01:34] from that side. It's one of the first steps to take, I would say,
[02:01:38] because the awareness of the general public, we have done
[02:01:41] a lot
[02:01:44] to raise awareness among the general public not to take objects out of their
[02:01:47] environment. From an archaeological point of view, we should not
[02:01:51] decontextualize the object
[02:01:54] because once removed from its context, the object historically or
[02:01:57] scientifically is worthless. Uh so we are trying to
[02:02:00] raise awareness among people not to take objects out of their
[02:02:04] context, but also to take them out of the marine environment
[02:02:08] abruptly can lead
[02:02:11] to the destruction of this object, and we will never be able
[02:02:14] to preserve it over time. To keep it for future
[02:02:18] generations, that's one of the objectives. You've been at the CNR
[02:02:21] since 2020. You have already joined. You
[02:02:25] also teach from time to time at the university
[02:02:29] the underwater module. Since
[02:02:31] 2020, six years now, do you have
[02:02:35] an idea, I think a mapping has been done, but do
[02:02:39] you have a more developed idea
[02:02:42] about Algerian underwater
[02:02:45] heritage? Uh we are in
[02:02:49] constant discovery, I would say, with a coast that
[02:02:53] is quite important, more than 1600 km of coast for
[02:02:56] Algeria. Uh so
[02:03:00] we are in constant discovery and are waiting for the
[02:03:04] people of the sea to declare what is needed because we can never
[02:03:08] go by ourselves and prospect the entire Algerian coast which is immense
[02:03:12] anyway. Uh and also the number of civilizations
[02:03:15] that have succeeded each other. You organize campaigns very often, so
[02:03:19] first to train young archaeologists to dive
[02:03:23] to perhaps locate objects and to be able to work
[02:03:27] too because all your work is done underwater, even
[02:03:31] in terms of measurements, in terms of everything that is
[02:03:34] usually done on dry land. You do it, it's the same technique,
[02:03:38] it's not the same techniques underwater, okay. But on
[02:03:41] the other hand, precisely in my free time,
[02:03:44] I try to participate with my colleagues,
[02:03:47] researchers, teachers. university to precisely
[02:03:51] train a generation of underwater archaeologists
[02:03:54] who would possess these techniques that are specific to underwater
[02:03:58] archaeology, among others underwater surveying, for example, which
[02:04:02] differs from underwater excavation, which is not quite the same, etc. So
[02:04:05] there are certain aspects that are very similar. We do archaeology even underwater,
[02:04:09] it's still archaeology uh but precisely
[02:04:13] we try to transmit all this to others,
[02:04:17] to others. to the young generation.
[02:04:19] Uh it would perhaps require more
[02:04:22] resources in this field, because this
[02:04:26] field specifically requires more resources.
[02:04:29] Uh to learn to dive, so it would be necessary
[02:04:33] to first acquire the technique to go underwater,
[02:04:36] uh it's the only way that exists
[02:04:39] to make archaeological discoveries and also
[02:04:43] other technological means, I would say, to develop this
[02:04:47] discipline. Uh whether it's
[02:04:50] underwater photogrammetry, underwater robotics, for example,
[02:04:54] etc. There are times when it's so deep that even we can't
[02:04:58] go down, so we call on what is done abroad, at
[02:05:02] the international level, which is that robots replace
[02:05:05] humans at significant depths.
[02:05:08] Uh I participated, for example, in an international mission
[02:05:13] UNESCO as an expert for Algeria.
[02:05:16] So I participated in this expedition
[02:05:20] uh which went around the Mediterranean between the Strait of Sicily,
[02:05:24] the Tunisian coasts, etc. And uh the
[02:05:28] archaeological artifacts, the wrecks, discovered
[02:05:31] during this mission were at a very important depth, more than 800 meters
[02:05:35] deep, and so for us as human beings, we did not have the possibility
[02:05:39] of going to these depths. Uh we had planned
[02:05:42] to send robots, and it was the robots that were able to bring us
[02:05:46] the images of these discoveries. Uh which
[02:05:49] was extraordinary. So yes, yes, we should
[02:05:53] advance in this field with new technologies.
[02:05:56] Can we imagine that one day there will be... I mean, just like
[02:06:00] the museums of Algeria, that there will be a
[02:06:03] national underwater museum?
[02:06:06] We
[02:06:09] could envisage that, yes, already all the underwater archaeological
[02:06:12] sites can become visitable
[02:06:15] museums. For that, it can be a
[02:06:18] good, it can be a good tourist attraction for
[02:06:21] Algeria, a showcase too,
[02:06:25] to say that we have this cultural
[02:06:28] diversity, this... historical richness
[02:06:31] also that is underwater and that people can
[02:06:34] visit. So it's really a goal to
[02:06:38] achieve because once the discovery is made, once the
[02:06:42] research is done, once everything is documented, then we
[02:06:46] can open these sites to the general public who come and
[02:06:49] visit. Uh the public is quite
[02:06:52] uh trained in underwater diving techniques, so
[02:06:56] there are many diving clubs that train amateur divers, etc.
[02:07:00] Uh so all these people, yes, can come and visit these sites.
[02:07:04] That would be a goal to achieve after the research. Yes,
[02:07:07] in the long term, can we consider it for the
[02:07:11] Del Hamdania site where there was a
[02:07:14] discovery of 23 cannons,
[02:07:18] I think, which tells us about a point in our
[02:07:21] history, a battle that took place between Khairdin and
[02:07:25] the French
[02:07:28] during, let's say, the 17th century, I think. We
[02:07:32] found cannons indeed in Alhamdaniah. Honestly, we
[02:07:36] don't have enough clues to say if there was a
[02:07:38] battle, if there was, etc., if there was anything else, but what is certain
[02:07:42] is that we found 23 cannons indeed underwater and
[02:07:46] uh these cannons are at a very accessible
[02:07:48] depth, they are well preserved as long as they remain underwater.
[02:07:52] Uh so yes, it's a site that can be
[02:07:55] visited in the very near future. We
[02:07:59] can, we can... consider precisely opening
[02:08:02] certain sites like that for the public to discover. It
[02:08:06] just takes preparing these sites,
[02:08:09] let's say, and preparing, sensitizing the people who will
[02:08:12] visit these sites not to touch anything, not
[02:08:16] to damage the archaeological site and not to damage the marine
[02:08:19] biodiversity, which is important, but divers are supposed to know that. It's a
[02:08:23] major event, the discovery of the 23 cannons
[02:08:26] of Hamdaniya where many things happened...
[02:08:30] quickly, uh perhaps a teaching
[02:08:33] module at Algiers university
[02:08:35] dedicated
[02:08:37] to underwater, and also protection measures
[02:08:41] with regard to UNESCO, all engaged by you, by
[02:08:45] the University of Algeria, by the CNRA, by
[02:08:48] also Mr. Hamoum who was Algeria's representative at
[02:08:51] UNESCO. Yes, I would say that the site of the 23
[02:08:55] cannons of Hamdaniah was the White Rock, more precisely,
[02:08:59] was a major discovery. So the discovery was made in the
[02:09:02] 90s, yes, by a local association
[02:09:06] in Cherchell Maârif. Uh they made this discovery
[02:09:09] there. They had taken
[02:09:12] photos at the time, right? We are in the 90s.
[02:09:15] And uh subsequently, uh there was
[02:09:19] a colleague from the Cherchell Museum who had done
[02:09:21] uh uh a study on
[02:09:25] his bachelor's thesis on this site, and
[02:09:28] then I and Professor
[02:09:31] Rafiq Lef
[02:09:35] over the archaeological site to
[02:09:38] deepen the studies. The Maritime Museum also intervened, so there was
[02:09:42] an enthusiasm, let's say, for this site in terms of
[02:09:45] research where finally we
[02:09:48] all focused on this site to try to
[02:09:52] shed light on this discipline. That was, I think,
[02:09:55] the objective at the time. It was, well, we
[02:09:58] finally saw many underwater sites. We just need
[02:10:02] to discover them and bring them to light, and this allowed
[02:10:05] us to create a research unit in
[02:10:09] underwater archaeology within the CNRA, which also allowed
[02:10:13] the University of Tipasa to develop
[02:10:16] this discipline within the laboratory of archaeological and historical studies.
[02:10:19] Uh there is also the maritime museum which has acquired
[02:10:23] equipment and a team, etc., and so this created this
[02:10:28] underwater archaeology, which has been very beneficial for this
[02:10:32] discipline. Now we need to discover even more
[02:10:36] sites precisely to see all the diversity and the
[02:10:39] historical richness. Speaking of RF. We will
[02:10:42] find him later, we will find him on the site of the Roman ruins.
[02:11:57] I hope we didn't make you wait too long. Not at all, but we
[02:12:00] were impatient to discover this site and especially its history, its
[02:12:03] ancient history. We are as we said, in
[02:12:07] Saint Salsa at the entrance of Tipasa and we
[02:12:10] are facing a magnificent country. Yes,
[02:12:14] after crossing the ruins, we arrive in front of the two islands,
[02:12:18] but they are not just simple islands, they are islands that
[02:12:21] hide an emerged
[02:12:25] heritage that could perhaps represent
[02:12:28] the ancient port of Tipasa, the presumed ancient port of
[02:12:31] Tipasa. Exactly. So you need to know that the Tipasa park is
[02:12:34] divided into two parks in reality, the east park and the west
[02:12:38] park. The east park is known as Saint
[02:12:41] Salsa, but... compared to the necropolis, but what
[02:12:45] few people know is that here, as I said, there is the
[02:12:49] presumed port. Why presumed? We know that there are structures,
[02:12:52] that an ancient port did exist here. Is
[02:12:56] it the port of the city of Tipasa? The question
[02:12:59] mark is still posed. Uh why? Because as
[02:13:03] you can see, the site is a bit far
[02:13:05] from the port, so the port should
[02:13:09] normally be located
[02:13:13] the city center. We have conducted research. So
[02:13:16] in reality, in 1968,
[02:13:20] the University, the English University,
[02:13:23] conducted sonar surveys, which were
[02:13:27] revolutionary at the time, and they confirmed the presence of
[02:13:30] submerged structures, namely the jetties of
[02:13:33] the port and the basin where
[02:13:37] boats came to dock. We started
[02:13:40] by uh conducting archaeological prospecting
[02:13:44] work as part of our research projects, where we
[02:13:48] confirmed the presence of these structures, we confirmed the
[02:13:51] presence of the port through, of course,
[02:13:54] dives, images, photographs, and
[02:13:58] videos that we were able to take. But also this project
[02:14:01] was uh taken up or was also
[02:14:04] the subject of several final year
[02:14:08] thesis topics by students. We also
[02:14:12] uh worked on this port
[02:14:15] during a study on the archaeological potential
[02:14:19] within the framework of the underwater archaeological
[02:14:22] zone requested by UNESCO, and our
[02:14:24] colleague Nazim recently took up the file within
[02:14:28] the framework of the buffer zone
[02:14:32] the ancient city of Tipasa. So in clear terms, for
[02:14:35] us simple viewers, simple
[02:14:38] Algerians, how to understand what exactly is
[02:14:42] underwater? You have done diving
[02:14:46] campaigns, diving operations, and
[02:14:50] with Nazim Ben Saleh or others, with
[02:14:53] other colleagues too. Uh there
[02:14:56] are difficulties. Sometimes we can't see very well, as the
[02:15:00] question arose at the port of Hamdania. The
[02:15:03] visibility may not always be present.
[02:15:07] So what can we see and what can we see clearly?
[02:15:10] So what characterizes the port is its
[02:15:14] basin, and the basin is delimited by jetties.
[02:15:17] So to identify the presence or absence of a port,
[02:15:21] you need to identify the presence of the structures
[02:15:24] which are the jetties. We have clearly identified them. We can
[02:15:28] take them from the islands, from the islands
[02:15:31] towards the coast, from the two islands, as you can see, and
[02:15:35] inside, so a basin is formed. The basin is
[02:15:37] flat. So since it is closed, we were able
[02:15:41] to find many
[02:15:45] remains, among others during the last operations we did with
[02:15:49] Nazim, in partnership with the National Center for Archaeological Research,
[02:15:52] we found anchors, many amphorae,
[02:15:56] which was the proof that the area or the basin had
[02:15:59] a period of occupation because sailors, when they arrived
[02:16:19] Okay. Do we have a rough
[02:16:23] date? So the port uh uh by the structures, you should know that
[02:16:27] on the islands there are structures that have been built also,
[02:16:31] uh by also the few archaeological
[02:16:33] elements, we can say that it is a port that was
[02:16:36] developed during the Roman period, so
[02:16:40] not before. We know that the city of Tipasa is known
[02:16:44] to have a presence since the Phoenician
[02:16:47] periods with archaeological evidence dating back to the 6th century BC.
[02:16:51] There, perhaps we will talk about the first
[02:16:55] century and a use of the port
[02:16:58] perhaps until the Tartif period. So we could have more
[02:17:02] details on the buffer zone requested by
[02:17:05] UNESCO and on this heritage or what this zone will
[02:17:08] represent in terms of heritage? Yes, yes, it's a
[02:17:11] project that brought together a lot of people and was multidisciplinary, especially because
[02:17:15] there was the CNRDPA, the National Center for Research for the
[02:17:22] the University of Tipasa and the Maritime Museum. And it was
[02:17:25] led by the National Center for Research in Archaeology, so it was the CNRA that led this
[02:17:29] project and conducted the prospecting along the entire
[02:17:33] coastline of the city of Tipasa where
[02:17:37] we wanted to see the archaeological potential that was
[02:17:42] from UNESCO to create a future buffer zone for the archaeological
[02:17:46] site of Tipasa, the archaeological sites of Tipasa.
[02:17:50] This allowed us to discover other places, right? Which were not yet
[02:17:53] discovered, the Roman Bank. In addition, in addition to the port
[02:17:56] of Tipasa, we discovered what is found
[02:18:00] on the maps as the Roman Bank. We found a lot of archaeological
[02:18:04] material, including anchors uh quite
[02:18:07] imposing and amphorae, etc., which suggests
[02:18:10] that ships, before entering the port,
[02:18:14] would drop their anchors while waiting to get a place in the
[02:18:17] port. They would drop their anchors in that specific place
[02:18:20] uh waiting to get a place in the port
[02:18:24] to... show very well, thank you very much, thank you for this
[02:18:28] beautiful journey through time, but especially regarding
[02:18:32] all that is done on underwater heritage. Thank you very much, sir.
[02:18:54] Thank you.
[02:19:16] We received instructions
[02:19:19] from members of the MAK movement, led
[02:19:22] by Ferhat.
[02:19:25] To prevent
[02:19:26] the elections
[02:19:29] A criminal group consisting of six
[02:19:32] Algerians and four
[02:19:36] Moroccans residing illegally
[02:19:40] in Tizi Ouzou province
[02:19:42] were attempting to disrupt
[02:19:46] of the legislative elections.
[02:19:48] However, the vigilance of the army intelligence services
[02:19:52] was vigilant. It was
[02:19:55] vigilant against these failed
[02:19:57] attempts.
[02:20:03] Social media platforms such as TikTok, Facebook,
[02:20:06] and WhatsApp were used by activists of
[02:20:10] the terrorist MAK movement
[02:20:12] to carry out their from abroad,
[02:20:16] which aims to foil the success
[02:55:28] We received instructions from members of the
[02:55:32] MAK movement, led by Farahto Mani,
[02:55:35] to cut off and prevent
[02:55:38] the elections.
[02:55:41] A criminal group consisting of six
[02:55:44] Algerians and four
[02:55:47] Moroccans residing illegally
[02:55:51] in Tizi
[02:55:54] Ouzou
[02:55:58] running of the legislative
[02:56:00] elections. However, the vigilance of the security
[02:56:03] services of the Central Directorate of Army Security was
[02:56:07] ready for these failed
[02:56:09] attempts.
[02:56:14] Social media platforms such as TikTok, Facebook
[02:56:18] and WhatsApp were used by activists of the movement to implement
[02:56:26] abroad, which aimed at foiling the success
[02:56:30] of the legislative elections in
[02:56:33] Algeria.
[02:56:36] He used to do live broadcasts with groups from France of the MAK, those
[02:56:40] who boycott the elections and the secession
[02:56:42] of Kabylie. They discussed these
[02:56:45] matters. When he arrived there
[02:56:48] in Morocco, we had a cell there consisting of three
[02:56:51] people, myself, Jamal
[02:56:54] Za'im and Zargag Al-Hadi.
[02:56:57] And
[02:57:00] there was Aksal Belabbasi. Many of the MAK go to
[02:57:04] Morocco. Groups of the MAK go to Morocco completely
[02:57:08] to find their comfort. And then
[02:57:11] some go to Europe, some stay for eight months in Morocco.
[02:57:15] They find it a refuge that helps them and they carry out
[02:57:20] Morocco, look, we have a comfortable class,
[02:57:23] and the land,
[02:57:26] I mean, the land is under that. That's it. We were oppressed in Morocco. We don't
[02:57:29] say there is oppression in Morocco, injustice, work
[02:57:33] was not scarce. Life was difficult.
[02:57:37] As a message, as a message to the youth
[02:57:39] and to all the people of the
[02:57:42] Kabylie region, don't be mistaken
[02:57:46] and don't let them mislead you. Don't let people mislead you.
[02:57:50] Foreign agendas are not
[02:57:52] even Algerian or even
[02:57:55] Kabyle. Politics and foreign
[02:57:59] agendas
[02:58:00] of the Makhzen.
[02:58:03] The terrorist organization MAK has failed another
[02:58:06] of its
[02:58:09] Saturday at 58 minutes on Algerian
[02:58:13] Television channels.
[02:58:25] Young Algerians wishing to secure your future and
[02:58:28] contribute to the defense of your homeland, the National People's
[02:58:32] Army meets your aspirations and offers you
[02:58:35] the opportunity to become a non-commissioned officer in the ranks of the land
[02:58:39] forces, air
[02:58:42] forces,
[02:58:47] forces
[02:58:48] naval forces,
[02:58:52] of the territorial air defense forces,
[02:58:58] national
[02:58:59] gendarmerie?
[02:59:05] the Republican
[02:59:05] Guard,
[02:59:13] of the central
[02:59:14] directorates and services.
[02:59:20] Pre-registrations will be done exclusively on the electronic
[02:59:23] website made available to you for this purpose.
[02:59:26] Preinscription.mdn.dz.
[02:59:30] For more information, you can download the 2020 recruitment guide
[02:59:34] on the official website of the Ministry of National
[02:59:38] Defense
[02:59:38] mdn.dz
[02:59:44] the National People's Army, honor, commitment and future.
[03:00:05] Ladies and gentlemen, hello, thank you for
[03:00:09] immediately.
[03:00:12] The Prime Minister chaired a video conference meeting with the Walis in the
[03:00:15] presence of numerous ministers on the
[03:00:19] general situation of several regions of the country as well as the
[03:00:23] measures to be taken to ensure a successful social return 2026/2027.
[03:00:27] réussie.
[03:00:32] The Sonatrach group and the Algerian Angris company signed two
[03:00:35] engineering and construction contracts as part of the implementation
[03:00:39] of the first phase of the integrated phosphate project in
[03:00:43] Bladeba in TBSA.
[03:00:47] The national drilling company completed the final touches.