مدي 1 تي في : مع حمزة الحريشي الإدريسي - 25/09/2024
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00:00Salaam alaikum and welcome to a new episode of your show, Patchwork Saeed.
00:20Saeed is here with you every night to present to you some of the latest news,
00:25as well as the latest developments in the field of art, sports, and the digital world.
00:31Let's start with Dabashweya.
00:38Welcome again to our guest of today's episode.
00:41Let's get to know his world, his inspirations, and his specialization.
00:45Dabashweya's first guest is Hamza Al-Hareishi Al Idrisi.
00:48Salaam alaikum and welcome.
00:51How are you?
00:52I'm fine, thank you.
00:54You are a medical specialist, a kinesiologist.
00:56Yes.
00:57What can you tell us about the stars and the stars of the festival?
01:02The stars of the festival, yes.
01:04The stars of the festival, perhaps.
01:06Because the festival has a lot of stars.
01:10I would like to hear more about the stars.
01:14Of course.
01:15The technical team, the directors, the technicians, the volunteers.
01:19Exactly.
01:20Everyone is a star of the festival.
01:22Can you tell us about the artists' companions?
01:25Yes.
01:26We can talk about the artists' companions.
01:28Who accompanies the artists at the festivals?
01:33We often work at the festivals.
01:36People know that there is the medical side,
01:39but there is also the preparation side.
01:42We work with the athletes.
01:44The idea of the artists came to me
01:46when I was trying to get a doctorate in sports.
01:49The sports world.
01:50The sports world, exactly.
01:52I was interested in music.
01:54I saw the proximity of the festivals.
01:59I said, why don't we get this expertise
02:02and do something at the music festivals
02:04so that we can work with the artists
02:07and the people who work with them
02:09in terms of performance.
02:11When we work with an athlete,
02:13we prepare him for a match,
02:15we accompany him,
02:16and we help him relax after the match.
02:18For us, the artists and the people who spend the night at the festivals,
02:21they have the same staff,
02:22so we try to give them the same approach.
02:24In France, if anyone watches us or listens to us,
02:27they will tell us that in football,
02:29it is normal to have Kine,
02:31an artist, on the pitch,
02:33and it is normal for him to be with Kine.
02:36From my point of view, of course, it is normal.
02:38When we look at the performance of the artist,
02:42for example, a batter,
02:44who plays a set,
02:45It's physical.
02:46It's very physical.
02:47A batter who plays a set,
02:48is like a referee who plays at 11 o'clock.
02:50In terms of calories he burns,
02:52in terms of effort,
02:53in terms of cardio,
02:54it's almost equivalent to the effort
02:56a player makes during a match.
02:59It depends on the style of play,
03:01if you play metal,
03:02if you play jazz,
03:03if you play fusion,
03:04or something like that.
03:05But there is always a physical effort,
03:07which, of course,
03:08the coach can contribute a little
03:10with what he knows,
03:11to prepare the person.
03:13And even a little bit of mental preparation.
03:16It's not really our profession,
03:17mental preparation,
03:18but even an artist, for example,
03:20who wants to play,
03:21the fact that he finds a small medical staff
03:24who accompanies the team,
03:26it reassures him.
03:27For example,
03:28he can rest during the festival,
03:29he can rest during the performance,
03:30and he doesn't have to worry
03:31about the artist, for example.
03:32Yes, that's true.
03:33Or Jack, for example.
03:34Jack has a good performance.
03:36Exactly.
03:37He doesn't have to worry about the people.
03:39If he has a long flight,
03:40he will be tired.
03:41We, as athletes,
03:42we try to prepare him
03:43for that physical refreshment,
03:44we try to prepare him
03:45for that physical refreshment,
03:46we try to prepare him
03:47for the festival.
03:48So, contrary to the prevailing ideas
03:50that we have,
03:51on the contrary,
03:52medical preparation is very important
03:53for the artists,
03:54and it's very important
03:55for the artists,
03:56and it's very important
03:57for the artists,
03:58and it's very important
03:59for the artists,
04:00and it's very important
04:01for the artists,
04:02and it's very important
04:03for the artists,
04:04and it's very important
04:05for the artists,
04:06and it's very important
04:07for the artists,
04:08and it's very important
04:09for the artists,
04:10and it's very important
04:11for the artists,
04:12and it's very important
04:13for the artists,
04:14and it's very important
04:15for the artists,
04:16and it's very important
04:17for the artists,
04:18and it's very important
04:19for the artists,
04:20and it's very important
04:21for the artists,
04:22and it's very important
04:23for the artists,
04:24if you ask me,
04:25the artist who asks
04:27asked how can we
04:28ask how can we
04:29help him,
04:30but they can not
04:31tell everything
04:32because the work
04:33in a festival
04:34because the work
04:35in a festival
04:36is very different
04:37than the work
04:38in a office
04:39or a hospital
04:40or a hospital
04:41so we asked
04:42how could we help him
04:43sometimes we used
04:44the massage technique
04:45it can relax
04:46sometimes we used
04:47on the pain
04:48the ampule
04:48like the physiotherapist
04:50like the physiotherapist
04:51the physiotherapist
04:52like the physiotherapist
04:53No, this is the massotherapy, the electrotherapy is electric currents, it's one of the tools,
05:01it's electric currents, it's electrocution, but I like it, it's not torture,
05:08but it's like when you see a sportsman fall on his feet, it's like electric impulses.
05:15So this is sometimes used for pain sessions,
05:19sometimes used for cupping, stretching techniques,
05:24sometimes used for mobility,
05:28which means that we try to solve them in an easy way so that they can be solved.
05:33So the concept we have is athletes.
05:36So it's artists, not athletes in pairs.
05:40Exactly, it's artists and athletes.
05:42So we really try, depending on the performance,
05:44like I said, musicians or artists,
05:46it's not easy to play an instrument.
05:48Yes, you have to get into it.
05:50Of course, it's like you're trying to personalize it.
05:53Let me ask you a concrete question.
05:55For example, a singer-guitarist who sits for an hour and a half in a full show,
06:00his job is to be a rapper who moves, moves, moves with the audience.
06:09Absolutely not, it's different.
06:11A guitarist, let's say a set, who plays calmly, sits,
06:15it's mainly used for preparation,
06:17it's used for massages, stretching, warm-ups,
06:21because the guitar is the main instrument.
06:23Exactly.
06:24So it's used for warm-ups,
06:28it's used for warm-ups,
06:30it's less physical work than a rapper who stays on stage.
06:34How does a rapper stay on stage?
06:36It's used for movements to warm up his body.
06:40You can use it for low-intensity exercises,
06:43because it's like you're warming up,
06:45it's like you're going into a match,
06:47because we see a lot of rappers who are alone on stage,
06:50without a judge, so they don't have a place on stage.
06:53So you have to prepare him,
06:55you have to give him tips on how to breathe,
06:59because it's true that you have to talk to the vocal coaches,
07:02who work with the rappers,
07:04but we also have to take the knowledge of the sport
07:07and try to apply it,
07:10so exercises like boxing,
07:12how to control his breathing,
07:15how to manage his breathing,
07:17between a rapper who stays on stage and sings,
07:20you have to calculate his flow,
07:21so it's going to impact his performance.
07:23He has to learn how to breathe,
07:25how to recover his breathing,
07:27his breathing rhythm,
07:28so he can sing well.
07:30So, of course, the performance is good,
07:32the audience is happy,
07:33and the artist is satisfied.
07:35Hamza, what do you say to people who say this is a luxury?
07:38It's a luxury,
07:40it's not necessary.
07:42I tell them to get closer to the musicians
07:44and see the real rhythm of life,
07:46especially the professional musicians,
07:48and the semi-professionals.
07:50It's true that when we first started,
07:52we were like people who get a massage.
07:55It's a phrase that comes up a lot.
07:58Indeed, the massage is one of the tools we use,
08:00but it's not the only one.
08:02As soon as you enter the performance,
08:04you have an effort,
08:06and you have to reach the artist's goal.
08:08From that moment on,
08:10yes, we can say that this is necessary.
08:12It's like a football match,
08:14it's like an artistic representation
08:16of a dancer, for example.
08:18Because when we talk about musicians,
08:20we also talk about dancers who sometimes accompany them on stage.
08:22So even they have...
08:24This is physical.
08:26So there is a service before going on stage,
08:28and there is a service after going on stage.
08:30Of course, this is for recovery.
08:32You can see this.
08:34This is a bit of what they want.
08:36If you look at the screen,
08:38you can see the...
08:40The microphone is good.
08:42The microphone is good,
08:44the guitar is good.
08:46There is this side,
08:48there is another side.
08:50We see it less in Morocco,
08:52because the rhythm of the tour is not as high as in other countries.
08:54But sometimes you have artists
08:56who do 200 dates a year.
08:58So it means that from the day of the concert,
09:00tomorrow they have another flight.
09:02They don't take advantage of that time.
09:04Exactly.
09:06The recovery also helps you to benefit from it.
09:08An artist who is going to perform,
09:10who is going to do a recovery session,
09:12it can be a pressure therapy for the legs,
09:14it can be a massage or stretching.
09:16This one will recover better,
09:18he will recover faster.
09:20So the performance of the knee is good.
09:22And so on.
09:24This one is controlled by the rhythm,
09:26the frequency of the dates they have.
09:28So, what do you suggest?
09:30The festivals, the services,
09:32or they tell you?
09:34What is the formula?
09:36It depends.
09:38There are festivals that know me,
09:40and it's true that I started with the boulevard.
09:42You are talking about the boulevard.
09:44I was a fan of the boulevard
09:46since I was a child.
09:48And one day,
09:50I was with Hicham Bahou,
09:52the co-director of the festival,
09:54and I proposed to him,
09:56that we should do a concert with the boulevard.
09:58And so we did.
10:00And we enjoyed it a lot.
10:02And so we started with the boulevard.
10:04That's how it started.
10:06We started with the team.
10:08We did it for a day.
10:10I was with the team,
10:12and we offered performances
10:14to de-stress the team.
10:16And then we started to think
10:18and to propose it to the artists as well.
10:20Because, God willing,
10:22we need the experience of the festival.
10:24Then, of course, there was the Gnawa festival.
10:26Jazza Blanca also contacted us.
10:28And so on.
10:30In fact, there are some festivals
10:32that understand what we want to do.
10:34Other festivals, yes,
10:36maybe we approach them.
10:38But most of them, frankly,
10:40they know the world of festivals.
10:42They know what we want to do.
10:44So, the more performances we do
10:46at other festivals,
10:48the more people understand the need
10:50and come to us to help them.
10:52But the others have a formula,
10:54a business plan, etc.
10:56It's a paid performance.
10:58It's a paid performance.
11:00What we tell them is that
11:02we like to offer this to the musicians
11:04and to the staff.
11:06So we ask the festivals to pay
11:08this to their employees.
11:10So you have a staff,
11:12you have their travel,
11:14you have logistics,
11:16you have, I imagine, material.
11:18Yes.
11:20So, let's dive into this
11:22in better conditions.
11:24We're going back to these pictures
11:26of the best of the boulevard
11:28for 2024.
11:50Yeah.
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16:36We rely a lot on doctors to diagnose patients.
16:39It's true that doctors are getting more and more specialized over the years,
16:42so they can diagnose a patient that is much more specific.
16:45Once we have diagnosed a patient, the doctor has his own tools.
16:49I tell the doctor to give me a diagnosis,
16:51he sometimes gives me indications, recommendations,
16:53he gives me guidelines, for example,
16:55he tells me that if this patient wants to go to a hospital,
16:58he wants to go there,
16:59he tells me what to do with this patient,
17:01because it takes time.
17:02The doctor takes the information,
17:04he gives him a treatment plan,
17:06and he starts working on the patient.
17:08Once the patient is healed,
17:10we send him back to the doctor,
17:12because the doctor is like a green light.
17:14He tells him that the operation is going well,
17:16the treatment is going well,
17:18it's time to stop.
17:19And then he finds something,
17:20he goes back to the doctor,
17:22and he intervenes to correct this or that.
17:24Hamza, you are in a new sport,
17:26a sport that has a paddle,
17:28and because you are in a new sport,
17:31there will be new injuries.
17:33Very good question, very good question,
17:35very, very good question.
17:37Yes, it's true that,
17:39I don't know the dictionary
17:41or the vocabulary of injuries,
17:43it depends.
17:44I know.
17:45Yes, exactly, it depends.
17:47But we are never safe from new syndromes.
17:49What is a syndrome?
17:50A syndrome is a group of injuries
17:54that are related to an activity.
17:56So when we say a syndrome,
17:57it means that we can't say one specific thing,
17:59but it's a syndrome.
18:01For example, in rugby,
18:02there is a syndrome in the air foot,
18:04there is a syndrome in the paddle.
18:06These can be found in athletes
18:09depending on the activity.
18:11For example, an athlete who runs a lot,
18:13not like an athlete who works out a lot,
18:15not like an athlete who uses the wrist or the elbow,
18:18but there are many parallels in sports families.
18:21You can differentiate between contact sports
18:24and non-contact sports.
18:26In contact sports, you have football,
18:28you have American football,
18:29you have basketball,
18:30you have handball,
18:31rugby,
18:32even frisbee,
18:33the ultimate,
18:34there are contact sports.
18:36So these are contact injuries,
18:38often when we meet,
18:39so these are collisions,
18:40things like that.
18:41Then there are non-contact sports,
18:43such as tennis,
18:44individual sports, for example.
18:46Flying, for example,
18:47there is not much contact
18:48because the team is in a row and all that.
18:50These are injuries that are specific to them.
18:53But I admit that in the family of sports injuries,
18:57it is the sprain,
18:58it is the fractures,
18:59it is the muscle cramps,
19:00it is the elongations,
19:01it is the tears,
19:02exactly.
19:03It is the lumbago sometimes,
19:04which is like a concussion,
19:06like a skull trauma.
19:08Yes, like in combat, for example.
19:11In combat,
19:12in sports,
19:13violent American football,
19:14even in football,
19:15you have to play in the corner,
19:16race with race.
19:17But in France,
19:18there is one thing,
19:19you are a TV animator,
19:20you are a sportsman.
19:21But of course.
19:22You have physical and mental discipline,
19:24daily.
19:26If you had advice for me,
19:27what would you give me?
19:28For example,
19:29how to sit well,
19:30how to use my shoulders well.
19:31Excellent.
19:32Of course,
19:33for the animator,
19:34we will start with that person,
19:35where do you sit,
19:36how many hours do you spend sitting,
19:38for example,
19:39in the service,
19:40how many hours of shooting do you do.
19:41But usually,
19:42your activity,
19:43well,
19:44you don't run on the set,
19:45you know.
19:46I run,
19:47I run,
19:48I run,
19:49I sit outside the set.
19:50You usually sit.
19:51But it is true that the posture,
19:52a physiotherapist can help you,
19:53for example,
19:54to give you advice
19:55about the posture,
19:56how to bend your back a little,
19:57how to change your posture.
19:58Because,
19:59first of all,
20:00we can take this opportunity
20:01to ask you a question.
20:02Many people ask themselves
20:03about the posture.
20:04What is the best posture
20:05that you have?
20:06First of all,
20:07they say that the best posture
20:08is your next posture.
20:09The best posture
20:10is your next posture.
20:11Why?
20:12Because as long as
20:13the person moves,
20:14his posture is not a problem.
20:15Ah,
20:16if there is movement,
20:17if he moves,
20:18it is not a problem.
20:19As long as there is movement,
20:20we don't have to worry
20:21about this posture.
20:22And if there is a lot of movement?
20:23If there is a lot of movement,
20:24normally,
20:25according to your activity,
20:26if I sit in front of a computer,
20:27for example,
20:28I sit in front of a computer
20:29or in front of a monitor,
20:30I will feel that
20:31if I sit like this,
20:32I will do the opposite.
20:33Ah,
20:34we are dangerous.
20:35We are not good.
20:36Yes,
20:37if there is danger,
20:38what can we do?
20:39But if I sit like this
20:40to zoom in and zoom out,
20:41there is no problem.
20:42If there is a lot of movement,
20:43if I don't…
20:44No,
20:45the fact that you sit
20:46expands your muscles.
20:47Now,
20:48we see the body
20:49as a structure.
20:50Once you get out
20:51of your axis,
20:52the muscles
20:53make an effort
20:54to become stronger.
20:55So,
20:56this posture,
20:57which is more or less straight,
20:58is like a muscular economy
20:59as we call it.
21:00So,
21:01it means that…
21:02It offers your muscles
21:03energy,
21:04energy and effort.
21:05Exactly.
21:06So,
21:07we can work longer.
21:08This is the performance
21:09that we can do.
21:10We can work
21:11and go to the gym.
21:12Exactly.
21:13There is an effort
21:14to…
21:15Can we have a subscription
21:16or something like that?
21:17Of course,
21:18of course.
21:19In fact,
21:21this episode
21:22shows us
21:23that gymnasts,
21:24athletes,
21:25sportsmen,
21:26animators,
21:27and how do you call them?
21:28Athletes.
21:29Athletes.
21:30Athletes.
21:31And a lot of training
21:32and a lot of professions
21:33have to reconsider
21:34their postures
21:35and movements
21:36and why not consult
21:37specialized gyms
21:38and gyms.
21:39I want to ask you,
21:40Hamza,
21:41what do you do
21:42in Morocco
21:43to do this specialty
21:44or are there companies
21:45and other gyms
21:46like that?
21:47The specialty.
21:48The specialty
21:49or the company
21:50of the artists.
21:51The company of the artists.
21:52It's true that there are
21:53a lot of gyms
21:54in Morocco.
21:55Thank God.
21:56A lot of artists
21:57have their own gyms.
21:58We are like a brand.
21:59A little bit like
22:00a mobile gym.
22:01A little bit digital.
22:02As I said,
22:03our team
22:04has a lot of people
22:05who like music.
22:06So we naturally
22:07go to these events
22:08but they are
22:09trained
22:10as I said.
22:11There are a lot
22:12of trained gyms
22:13and I think
22:14there is no one
22:15who can calculate
22:16how many people
22:17are trained
22:18in a gym in Morocco.
22:19There is no precise
22:20calculation
22:21but there are
22:22between 6,000
22:23or 8,000 gyms
22:24in Morocco
22:25and each one
22:26works in his field.
22:27That means
22:28that not everything
22:29is put forward.
22:30We have taken
22:31our approach
22:32to put the job
22:33forward,
22:34to raise awareness
22:35of the importance
22:36of the job.
22:37We show
22:38the different applications
22:39of it,
22:40the wealth
22:41and the possibilities
22:42of the gyms
22:43for a gym.
22:44Because today
22:45when someone
22:46goes to a gym
22:47to work
22:48in a company,
22:49there are gyms
22:50that work
22:51in companies
22:52that help people.
22:53Heavy industries,
22:54for example
22:55a driver
22:56who works
22:57in a TV media
22:58needs a gym.
22:59Someone
23:00who moves
23:01equipment,
23:02a cameraman
23:03who moves
23:04a steadicam
23:05can do it.
23:06I always say
23:07that gyms
23:08and even
23:09gym students
23:10need a driver.
23:11Morocco
23:12has 40 million
23:13people
23:14and 40 million
23:15potential patients
23:16but a therapist
23:17can help you
23:18a lot
23:19in prevention.
23:20In the case
23:21of a race.
23:22Exactly.
23:23Except
23:24when you have
23:25the information.
23:26The information
23:27is important
23:28in many cases.
23:29If you have
23:30the information
23:31you can overcome
23:32many problems
23:33that can
23:34come to your body.
23:35Of course.
23:36Do you still
23:37communicate
23:38with artists
23:39and stars
23:40that you meet
23:41in the gym?
23:42Of course.
23:43There are
23:44friends
23:45and artists
23:46who are surprised
23:47by the fact
23:48that there are
23:49so many artists
23:50in the gym
23:51like Zawia.
23:52Sometimes
23:53we laugh
23:54at him.
23:55Exactly.
23:56Zawia
23:57comes to us
23:58and asks
23:59if we have
24:00gyms
24:01and so on.
24:02It is a personal
24:03satisfaction
24:04that we see
24:05international
24:06artists
24:07who come
24:08to Morocco
24:09and we show
24:10them
24:11the gyms
24:12that are
24:13there.
24:14The fact
24:15that there
24:16are
24:17gyms
24:18in Morocco
24:19is a good thing.
24:20It is a good
24:21image of Morocco.
24:22Of course.
24:23That is what
24:24we propose.
24:25The festival
24:26is more valuable
24:27than anything else.
24:28The artist
24:29has 12
24:30years of experience
24:31with the plane
24:32that goes down
24:33and the driver
24:34is very good.
24:35He doesn't
24:36complain.
24:37Exactly.
24:38He eats
24:39well,
24:40works well
24:41and finds
24:42gyms
24:43that are
24:44good.
24:45It is a
24:46pleasure
24:47for us.
24:48Another
24:49pride
24:50that you have
24:51in your
24:52career,
24:53Hamza,
24:54is the
24:5511th
24:56anniversary
24:57of the
24:58death
24:59of the
25:00great
25:01king
25:02Mohammed
25:03VI.
25:04Can you
25:05tell us
25:06about
25:07this moment?
25:08It is a
25:09historical
25:10moment.
25:11I am
25:12not
25:13sure
25:14if
25:15it is
25:16true.
25:17I
25:18was
25:19in
25:20Raja
25:21in 2013
25:22for
25:23the
25:24World
25:25Cup.
25:26I
25:27worked
25:28with
25:29Raja
25:30and
25:31I
25:32have
25:33a
25:34very
25:35good
25:36background
25:37in
25:38the
25:39team.
25:40It
25:41is
25:42a
25:43very
25:44special
25:45moment
25:46for me.
25:47It
25:48is
25:49a
25:50very
25:51special
25:52moment
25:53for me.
25:54I
25:55have
25:56a
25:57very
25:58special
25:59background
26:00in
26:01the
26:02team.
26:03It
26:04is
26:05a
26:06very
26:07special
26:08moment
26:09for me.
26:10It
26:11is
26:12a
26:13very
26:14special
26:15moment
26:16for me.
26:17It
26:18is
26:19a
26:20very
26:21special
26:22moment
26:23for me.
26:24It
26:25is
26:26a
26:27very
26:28special
26:29moment
26:30for me.
26:31It
26:32is
26:33a
26:34very
26:35special
26:36moment
26:37for me.
26:38It
26:39is
26:40a
26:41very
26:42special
26:43moment
26:44for me.
26:45It
26:46is
26:47a
26:48very
26:49special
26:50moment
26:51for me.
26:52It
26:53is
26:54a
26:55very
26:56special
26:57moment
26:58for me.
26:59It
27:00is
27:01a
27:02very
27:03special
27:04moment
27:05for me.
27:06It
27:07is
27:08a
27:09very
27:10special
27:11moment
27:12for me.
27:13It
27:14is
27:15a
27:16very
27:17special
27:18moment
27:19for me.
27:20It
27:21is
27:22a
27:23very
27:24special
27:25moment
27:26for me.
27:27It
27:28is
27:29a
27:30very
27:31special
27:32moment
27:33for me.
27:34It
27:35is
27:36a