Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking. Treat it as a searchable index of what was broadcast, not a quotation record.
00:00:00this art has a beautiful ornamentation.
00:00:06settled 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,
00:00:09these houses that we call the Grand House, which also has
00:00:12botanical
00:00:16and geometric ornamentation.
00:00:19It is beautiful with
00:00:21El-Mohamadi entered
00:00:21these great landmarks today, the use of various
00:00:26civilization that transformed this great history, this wealth, colors.
00:00:31Thus, the Grand House in the Kasbah of Fayda differs from
00:00:35by painters of other sultanic palaces.
00:00:38It is a residence
00:00:41sunset moments that with a private entrance, seven doors, and residential wings surrounding
00:00:45an open courtyard.
00:00:48It is surrounded by arcades supported by columns
00:00:51built with high
00:00:53craftsmanship.
00:01:01highlights weekly events in peoples despite differences in This palace contains many things, from the royal residence to the princely
00:01:04residence to the house of governance
00:01:07and caliphate.
00:01:10The Kasbah of Fayda is considered a distinguished and
00:01:14complete example of Maghrebi architecture
00:01:17in the Tafilalt region.
00:01:23It is similar to other palaces such as Kasbah Abar Al-Makhzen
00:01:27and Kasbah Oulad Abd Al-Halim.
00:01:32These are historical landmarks
00:01:35and architectural masterpieces built during a period that paved the way
00:01:38for independence in Tafilalt.
00:01:39the world that is
00:01:55portraits, and many portraits
00:02:01Today, when we talk about this style, it is a living example, because
00:02:04today the Fayda Palace is a
00:02:08The beginning was in heritage landmark
00:02:11that has undergone restoration because the Ministry of Culture started
00:02:13in the early
00:02:16nineties of the twentieth century, through the Center for Restoration and Employment
00:02:20of Architectural Heritage in the Atlas regions,
00:02:23Hasten to to undertake the first interventions to restore this palace
00:02:27and to restore these components.
00:02:35Hasten to
00:02:40Hasten to
00:02:46To preserve the basic components
00:02:49of this building,
00:02:52using traditional
00:02:54techniques.
00:02:58From the rammed earth and
00:03:02sun-dried bricks, and
00:03:05using various local materials to preserve
00:03:10Over a year and a half the architectural features of this region.
00:03:24Sharifian State,
00:03:25on the but God.
00:03:28These historical landmarks have been around for centuries,
00:03:32despite the harsh geography that
00:03:34Despite that, this threatens them with extinction
00:03:37after it destroyed many facilities and made them
00:03:42of this collection of sultans and kings forgotten.
00:03:46Today, the Heritage Interpretation Center in the Sijilmasa
00:03:50region plays a pivotal role in rehabilitating these
00:03:54monuments. Many
00:03:57and diverse techniques are used in the
00:04:02We will review with him the party's position operations, but they do not change the quality of this architecture; rather, they use the same
00:04:06materials that were used in construction centuries ago,
00:04:09such as clay and wood, so that
00:04:13these palaces and kasbahs regain their beautiful appearance that once gave
00:04:17them a special
00:04:20splendor that made them a source of pride
00:04:23and honor. Today, through restoration
00:04:27operations, they seek to regain that position.
00:04:32Apart from the aesthetic element, these
00:04:35architectural masterpieces can play a role in revitalizing
00:04:38tourism in the region as a whole.
00:04:58Then there were also
00:05:00that I share with many activities that were carried out by the association,
00:05:04many cultural activities that took place in this palace
00:05:07and in this house, including the art of Malhun, which
00:05:11was performed
00:05:16in the courtyards of the Grand House of the Fayda Palace. Today we have a
00:05:20large and integrated project
00:05:23in this monument. It is the establishment of the Sijilmasa
00:05:27Heritage Interpretation Center. Because we say
00:05:30today that we must, when we see
00:05:36in fact, this heritage, and this cultural
00:05:40capital that it possesses, and we see that it is not being exploited in a truly
00:05:45scientific way,
00:05:48in a way that is exploited in the field of
00:05:52education in the field of tourism. Today we say that we need
00:05:56an institution that we must create in this context,
00:05:59in this region, that has a role, for example,
00:06:03an educational role, that has a relationship with educational
00:06:06institutions, and that also has an economic role in encouraging
00:06:09cultural tourism in this region, and that has a very
00:06:13important role, which is the role of preserving
00:06:15memory.
00:06:18In Tafilalt, man is a product
00:06:20of his nature, so in his daily activities,
00:06:24he lives by what his surroundings provide,
00:06:27whether in his trade or even in the talents
00:06:30of excellence
00:06:32and creativity that life has given
00:06:36him, and the dunes of Merzouga, which are about 40
00:06:40kilometers from the city of Rissani.
00:06:43We see those golden sands when the sun's rays reflect
00:06:47on them, painting a work of art for
00:06:52beyond description.
00:06:56With its unique charm
00:06:58and beauty, it became a source of inspiration
00:07:02for those with a refined artistic sensibility.
00:07:05And among those who loved art with its sublime messages
00:07:08is the artist Hassan El-Mohamadi,
00:07:11who developed the enchanting golden sands and turned
00:07:15them into artworks that captivate hearts
00:07:17and minds.
00:07:21the house. When the house, for example, is plastered with
00:07:24clay and straw, when it dries, it cracks and gives cracks.
00:07:28And since there was no electricity or anything in that
00:07:32place, we used to light up with
00:07:35a lantern. And when, for example, dinner was being cooked,
00:07:38we would gather together, and there would be those
00:07:41stories and such. One person would tell a story.
00:07:45And for me, with that light of the fire,
00:07:49which was a bit dim, I would see some drawings.
00:07:52Drawings, for example, of some animals, some trees, many things
00:07:56would appear to me. And that was my beginning,
00:08:00for example, to get that artistic touch
00:08:04in me. The sand helped me a lot too,
00:08:07as I would draw my drawings and sometimes erase them, and then the wind
00:08:11would come and redo them, for example.
00:08:22From childhood to attempts during middle
00:08:25and high school, El-Mohamadi's experience
00:08:28matured. He used to spend long
00:08:32hours planning, contemplating,
00:08:35and drawing
00:08:37sand before all these drawings
00:08:41disappeared, except
00:08:43for a few.
00:08:47artist did not stop drawing, as it is his favorite hobby
00:08:51and the best expression of a living
00:08:54spirit that beats with love for Merzouga, the bride of the desert
00:08:57of the southeastern
00:08:58Kingdom.
00:09:02After completing high school, Hassan El-Mohamadi continued
00:09:06drawing, reading, and researching independently to refine
00:09:10his talent. We used the sand
00:09:13and the nurturing environment of palaces and kasbahs
00:09:17as a source of inspiration.
00:09:20He wrote and drew in Arabic and Amazigh,
00:09:23and he used warm
00:09:27colors, the eternal colors
00:09:29of the region. And even writing, for example,
00:09:33the Amazigh or Arabic symbols,
00:09:36I write in the sand. The sand helped me a lot. It is my first
00:09:40sport. And thank God, those things
00:09:43that I used to see in my childhood,
00:09:47for example, in those cracks of the house that is plastered
00:09:50with clay, I now use them, for example, in some
00:09:54of my paintings, and almost even the clay
00:09:57with the straw, I use it
00:09:59with paint in some of my current paintings.
00:10:03And those symbols, those symbols, for example,
00:10:07in Amazigh or Arabic, I also use them in my
00:10:10paintings
00:10:13the residents and visitors, for example,
00:10:16in some exhibitions or in the exhibition we have here in the permanent
00:10:19shop. And also, for example, when
00:10:23we have exhibitions inside the country or outside the country, that touch of
00:10:27clay and straw
00:10:29the paintings, and even those symbols,
00:10:32Arabic or Amazigh symbols, and the colors
00:10:36of our region, always the warm
00:10:38colors, always.
00:10:43With bold steps,
00:10:46this field and expressed a Moroccan
00:10:51the enchanting desert nature into works of art.
00:10:57He is a lucky artist, as he combined playing Gnawa
00:11:00music and painting. And here
00:11:03he experiences these
00:11:06you don't see
00:11:08anywhere else. It is an opportunity
00:11:12for contemplation every time the colors
00:11:15of the sand change.
00:11:19The language of art is universal, uniting
00:11:24origins
00:11:25and roots.
00:11:29And the real embodiment of that is the story
00:11:32of the artist Hassan El-Mohamadi,
00:11:35who accompanied the French artist Johanna on her
00:11:38journey to the southeastern Kingdom.
00:11:41The artistic and personal
00:11:44relationship deepened, so he decided to get married,
00:11:48and with that began
00:11:50a new journey in Hassan's career.
00:11:54found what she was looking for
00:11:57in this region. portrait painting, which
00:12:00she loved, especially paintings that
00:12:03depict Moroccan
00:12:05and African faces.
00:12:11So in fact, I've been a painter
00:12:14for 25 years now, and I've always drawn
00:12:20of Africa or the Maghreb,
00:12:22perhaps a destiny to become so. So
00:12:26it's true that when I arrived here, of course, I met
00:12:29all the people, their gaze,
00:12:33their faces, it made me want
00:12:36even more to express all that through
00:12:39painting.
00:12:42Johanna was enchanted by the Kingdom,
00:12:45especially the Tafilalt region.
00:12:48The place became a source of inspiration for her,
00:12:52enriching her artistic journey with new
00:12:55works that she skillfully painted since she arrived
00:12:58in Morocco in 2007, coming from the city of Cognac,
00:13:02north of Bordeaux.
00:13:10From the moment I arrived here, I fell in love
00:13:13with the region, with the country itself.
00:13:16Even today, I still can't express with words
00:13:19what I felt, a kind of, I don't know...
00:13:23sorte je sais pas de...
00:13:35of hard work, Johanna was able to paint portraits
00:13:38of 23 sultans and kings of the Alawi
00:13:42Sharifian State, from Moulay Ali Al-Sharif
00:13:46to His Majesty King Mohammed VI.
00:13:50She researched
00:13:53and read documents and online
00:13:57about Moroccan history, especially the history
00:14:01and Tafilalt.
00:14:04So the idea
00:14:07of the Alawi dynasty came to me because,
00:14:10as I am very attached to this region,
00:14:13I wanted to know more, especially about the history
00:14:17of Sijilmasa, formerly
00:14:20Marouzi. So in fact, I studied, I studied
00:14:23history with my husband, with
00:14:26the internet, books. I studied,
00:14:29I really wanted to know
00:14:31more.
00:14:36Johanna, along with her artist husband, Hassan El-Mohamadi,
00:14:40worked on preparing these artworks with high quality.
00:14:44They used
00:14:47a painting and coloring process
00:14:49that involved mixing it with some grains of sand
00:14:53And here, Johanna achieved
00:15:03faces and writings, the texts
00:15:06I studied, and I felt
00:15:09the need to do something similar. In studying Moroccan history,
00:15:13I sought to know the faces of those who made
00:15:17history.
00:15:22The French artist Johanna organized her first
00:15:25painting exhibition when she was not yet
00:15:29twenty years old. After that, the journey continued
00:15:32to include various stops
00:15:34that crossed geographical
00:15:36boundaries. She exhibited her artworks in Germany, Belgium, and China,
00:15:40and eventually
00:15:43Morocco. She decided to research
00:15:47the ancient history of the Kingdom. She made field
00:15:51visits and conducted research
00:15:52in books and manuscripts.
00:16:01We did a lot of research, a lot on
00:16:05the internet. I worked
00:16:08based on the documents I found, paintings
00:16:13the era, and it was a very interesting
00:16:17work for me because I worked on the traces of the artists
00:16:20of that era, with their
00:16:23techniques, with their paintings, and it was
00:16:27really very, very interesting to pick up
00:16:30where they left off, like a path that we take
00:16:34little by little to try to find the faces
00:16:37of the sultans, while using my own
00:16:40techniques and my own painting, my own style.
00:17:51So I've always been very attracted to all the culture and
00:17:55history. So by painting these portraits, I really
00:17:59delved into history. I
00:18:02really lived in that era.
00:18:06By painting the portraits,
00:18:09I really became
00:18:12passionate about it. I researched the costumes,
00:18:15I researched the colors too, and then
00:18:19I tried to associate history with the
00:18:22character. I didn't just create the collection
00:18:25and study history separately. I studied history at the same time
00:18:29as I was creating the portraits. I felt
00:18:32like I was discussing a bit with them,
00:18:36creating.
00:18:49The French artist Johanna worked on intricate details
00:18:53as she masterfully painted portraits
00:18:55of the sultans and kings of the Alawi
00:19:02from the bright faces and towering inspirations
00:19:06to this
00:19:25French plastic artist, in form and content, forms that soft artistic power that
00:19:28expresses humanity
00:19:31and the legacy it left
00:19:33for humanity.
00:19:47In Morocco, art has always expressed the past,
00:19:51the present, and the bright future
00:19:54of men and women who skillfully built
00:19:57the renaissance of
00:19:58this nation.
00:20:02And today, they continue to connect the past with the present
00:20:05through a journey of growth
00:20:10led by a brave Alawi
00:20:12king, a king of hearts and minds,
00:20:16armed with the legacy of fathers and ancestors
00:20:20and with a keen vision for a bright future
00:20:23in which the Moroccan human is the goal and objective.
00:24:12In politics, the decision is the beginning of the story, and a stance makes a difference,
00:24:16and a vision rearranges time.
00:24:21Here, major questions are asked, viewpoints are received,
00:24:25opinions are scrutinized with evidence, and here, meaning is born from
00:24:28dialogue.
00:24:30But the story is not over yet, as there is
00:24:34more to say. This week's guest is Abdullah
00:24:37Bouanou, head of the parliamentary group of the Justice and Development Party.
00:24:41We will monitor with him the latest political
00:24:44and social developments in our country, and the position of youth within public
00:24:48policies and the challenges of establishing it.
00:24:52on the issues occupying the national scene as the legislative elections approach,
00:24:56and we will also look at the lamp's preparations for these
00:24:59elections and its vision for the map of competition
00:25:02and alliances. Dear viewers, you can
00:25:06interact with us by directing your questions and comments
00:25:09through the number and email address displayed on the screen.
00:25:13Wait for us on the first
00:25:14channel.
00:25:19God
00:25:28Mr.
00:25:28Mohammed.
00:25:37I only trusted the idea of bribery becoming common.
00:25:43If you understand them now, with this interest, these bribe-seekers,
00:25:46you will wait until your sugar is removed.
00:28:20On the Atlantic coast, the city of Rabat stands proudly,
00:28:23extending its wings along the bank of the Abu
00:28:27Regreg River. Every landmark, every
00:28:30building, every place in Rabat
00:28:34embodies the ancient Moroccan civilization.
00:28:37The Hassan Mosque and Minaret, a symbol of
00:28:40architectural splendor and a treasure of
00:28:43the City of Lights. The Grand Theatre
00:28:46is an example of the magnificent transformation
00:28:49that Rabat is witnessing.
00:28:57The National Library is one of the most important
00:29:00gateways to knowledge and learning, and it embraces
00:29:02the cultural and architectural structure of Rabat,
00:29:06with its buildings bearing witness to different
00:29:09stages of its rich history, including the
00:29:13Mohammed VI Museum of Modern
00:29:15and Contemporary Art.
00:29:19This museum is considered the first
00:29:21institution in Morocco to meet international
00:29:25standards in museum organization.
00:29:28It is the first museum to be established to be a museum, because other museums
00:29:32were historical buildings that were rehabilitated
00:29:35to become museums. The difference
00:29:38is that the Mohammed VI Museum was established to be a museum, meaning that at the
00:29:41level of engineering programming, it is a museum that meets all the requirements
00:29:45of exhibition and all the functions related to the field of museum work,
00:29:49including maintenance,
00:29:51preventive maintenance, permanent exhibitions, temporary exhibitions,
00:29:55diverse cultural programming, and so on. It was
00:29:58opened on October 7, 2014, established by Moroccan
00:30:02cadres, with Moroccan money, and with Moroccan minds.
00:30:05Its architectural
00:30:07style is characterized by the identity of the city
00:30:10of Rabat, linking the past and the present
00:30:13with a Moresque touch in a contemporary
00:30:16framework.
00:30:24The cultural aspect of the museum has three main
00:30:28components: an African component and a Mediterranean
00:30:31component related to all
00:30:35developments in the Mediterranean region, all schools
00:30:37related to formation, and finally,
00:30:41the component that focuses on the Moroccan scene.
00:30:44In addition to exhibitions, we used to hold press
00:30:47conferences. We used to host
00:30:50cultural representatives, cultural actors, people who
00:30:53are interested in culture, people who are also interested in cultural policies
00:30:57to enable and facilitate access.