مدي 1 تي في : مع سهام الشرايبي و عزيز العلمي الكرفطي - 08/02/2025
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00:00Salaam alaikum
00:24Salaam alaikum
00:24Salaam Alaikum
00:36Salaam Alaikum
00:52And also with me, Amin Mal from the Andalusian Music Association in Morocco and the President of the Leadership Committee
01:01for the Maintenance of the Andalusian Musical and Poetic Memory
01:05who recently saw the light in the Andalusian music anthology.
01:11Welcome, Mr. Alamy Aziz.
01:13Thank you for the invitation.
01:14So, this is the first time you come to the Golf in Malaki. Do you know a little bit about it?
01:18I used to come when I was young, but the atmosphere is great today.
01:22Welcome, Mr. Alamy.
01:24I came a few times, but the room has always been clean and excellent.
01:28It is one of the best clubs in the world.
01:32Yes. So, let's start with you, Sara.
01:35People call you Sara Shreibi. What do they call you, Sara?
01:38My name is Rakab. Maybe my parents didn't agree on the first day I was born.
01:43But when did you become Sara and when did you become Siham?
01:47I became Siham in my own field,
01:51and in the field of manufacturing and craftsmanship, I became Shreibi.
02:00You became Shreibi.
02:02So, you have a long experience in the world of fashion and fashion.
02:06Do you like your name in Morocco and outside of Morocco?
02:10The first question, your experience and the know-how during this tour,
02:16we noticed that the French media is focusing on you.
02:20It is one of the most important magazines to talk about you.
02:24Let's hear from you, why?
02:26I have been in this field for four seasons,
02:29two years of fashion.
02:32I am the first Moroccan and Arab woman to enter the field of haute couture.
02:39We should know that French haute couture is a title
02:45that not everyone can take.
02:48There are 30 international tours that have this title.
02:54I am currently a guest member in this fashion week.
03:04Haute couture.
03:06Yes, haute couture.
03:09I presented my work recently in the fashion week,
03:13for the fourth time.
03:15I presented works that are inspired by Morocco,
03:21but it has a contemporary nature.
03:24We will go back to you.
03:26You worked on the preparation and release of an anthology
03:30of Moroccan Andalusian music,
03:32which included seven Moroccan moods,
03:34130 hours.
03:36The anthology is Benidia.
03:38Why did you work on this anthology?
03:42The goal of this anthology is to preserve it,
03:47and it cannot be stopped without preserving it.
03:50We knew that these Moroccan moods came to us by chance.
03:54Then we started to write poems in books,
03:57from the beginning of the recording,
03:59from the beginning of the recording.
04:01But we did not leave the space,
04:03we left the work that people have done before us,
04:07may God bless them.
04:09Also, the anthology was given by the Ministry of Culture
04:12between 1998 and 1992.
04:14We collected all these works,
04:16we tried to combine them between a new record,
04:19in a studio with modern technology,
04:21between new voices.
04:23We also collected two-line tunes,
04:25in Arabic language,
04:27and in transliteration,
04:29so that any musician in the world
04:31can work with this anthology.
04:33We also collected,
04:36we collected an application
04:38that allows you to listen to music,
04:40130 hours a day,
04:42and you can also read two lines,
04:44everything in a digital tablet,
04:46so that young people can preserve it,
04:48and also young people can use it
04:50in recording,
04:52because the quality of the recording
04:54of this music
04:56has not remained in the old way,
04:58we went to the teacher and asked him
05:00to make it for us.
05:02Here, thank God, everything is available
05:05I think it was a tool
05:07to introduce this music
05:09and to develop it
05:11because there are new issues,
05:13there are also creators,
05:15artists of Andalusian music,
05:17who are invited to this recording.
05:19Do you use Andalusian music
05:21in the shows?
05:23Because before the fashion shows,
05:25there was Andalusian music.
05:27Sometimes, sometimes.
05:29In the end,
05:31I was in Paris,
05:34because I had a job interview.
05:36Because we can't
05:38present something
05:40that is contemporary,
05:42but it has to be a kind of
05:44reference in the origins,
05:46and this has nothing to do
05:48with being
05:50a contemporary trade mark.
05:52Yes.
05:54What is your relationship
05:56with the design of the coat?
05:58How did you get into this field?
06:00In one life or another,
06:02I am an architect.
06:12I learned sewing
06:14with my mother when I was young
06:16and I learned embroidery
06:18with a teacher.
06:22The idea is that
06:24we want to serve
06:26the Moroccan heritage
06:28in a contemporary way.
06:31Without the coat,
06:33there is the Moroccan coat
06:35and I think that the Moroccan coat
06:37is not in danger anymore
06:39because it has reached a kind
06:41of globalization,
06:43but there is another way.
06:45It is still in danger.
06:47No, I think that
06:49there is no danger because
06:51it is a fashion of the coat.
06:53It is a fashion
06:55and history
06:57and the Moroccan ladies
07:00and all the people in the world
07:02know that the Moroccan coat
07:04is our identity
07:06and whoever wants it
07:08will know where to get it.
07:10I think that there is no debate
07:12about this issue
07:14and there should not be
07:16any kind of opposition
07:18because, of course,
07:20the Moroccan coat is Moroccan
07:22but the idea
07:24is that
07:26there is the coat
07:29and the Moroccan ways
07:31of making it
07:33but how can we return it
07:35to the world
07:37and how can we reach
07:39a global market.
07:41In this way,
07:43since 2014,
07:45I started in Paris
07:47and I came back to Morocco
07:49and I started to work
07:51with fashion designers
07:53and I was a tailor
07:55and the idea is
07:58how can we give
08:00a contemporary touch
08:02to these techniques.
08:04Yes.
08:06If the world is dear,
08:08these anthologies
08:10present lost crafts
08:12and also
08:14paint solfeggio.
08:16Was it lost
08:18or was it not used by people?
08:20No, it was always
08:22a traditional tool
08:24and the teacher
08:26used it to improve
08:28his class.
08:30Today, thanks to God,
08:32a lot of crafts are out of existence
08:34because of the technology
08:36and the development
08:38of young people's ideas
08:40as well as the old crafts
08:42and they understood
08:44that it is useless
08:46to keep it.
08:48So, a lot of crafts
08:50are out of existence
08:52and some of them
08:55have been restored
08:57as if they were
08:59a building
09:01in order
09:03not to lose
09:05its value.
09:07These are some of the
09:09innovations in this anthology.
09:11For the first time,
09:13the machine was developed
09:15by the practitioners
09:17not only by the technicians
09:19but also
09:21in Arabic and Arabic
09:24dictionaries.
09:26It was developed
09:28in order to open the world.
09:30This is what opens the world
09:32to innovation
09:34because it is a well-known
09:36foundation
09:38for innovation
09:40because the raw material
09:42is available
09:44in traditional industries
09:46and we can use it
09:48because the raw material
09:50is the foundation.
09:53So, innovation
09:55is not a risk.
09:57The Moroccan koftan
09:59is known for its details
10:01and complexity.
10:03How do you make it?
10:05What do you use?
10:07Do you use Moroccan wood
10:09or do you use Italian wood
10:11or Indian wood?
10:13There are a couple of things.
10:15There is the Moroccan khamat
10:17especially in Andarjal
10:19because our khamat
10:22is considered.
10:24There is the thread
10:26which we use a lot in Sabra.
10:28I try to use
10:30something
10:32that is not traditional.
10:34My idea
10:36is that
10:38I will use
10:40everything in a modern way
10:42because
10:44I think that
10:46things that have not changed
10:48are old and rusty.
10:50I am against that.
10:52We say that
10:54the people before us
10:56were creative
10:58and came up with new things.
11:00I want that
11:02100 years from now
11:04history will remind me
11:06of a new idea
11:08because I came up with a new idea.
11:10I think that civilization
11:12is present.
11:14You are present
11:16but you came up with a new idea
11:19and this new idea
11:21does not have to come
11:23from Mars.
11:25This new idea
11:27can come from
11:29well-known khamats
11:31like Sabra,
11:33Sufaif
11:35and other
11:37Moroccan techniques.
11:39We always try to give
11:41a modern look
11:43and a flavor
11:45that I have not seen yet.
11:48There is a lot of respect
11:50for traditional techniques
11:52but this does not mean
11:54that this idea does not exist.
11:56I want to be
11:58one of the many ideas
12:00and one of the many
12:02traditional practices
12:04that we have a lot of respect for
12:06because our teachers
12:08taught us a lot
12:10and gave a lot to Morocco.
12:12But there is also
12:14a kind of artists
12:17who chose to work
12:19in this field
12:21of contemporary music.
12:23What is the role
12:25of Andalusian musicians
12:27in Moroccan culture
12:29and music?
12:31Why do you still keep
12:33your place in the music scene?
12:35I say that
12:37Andalusian music is
12:39very good.
12:41If we look at the city
12:43we see the number of music
12:46musicians and practitioners
12:48is very high.
12:50In the past,
12:52there were only a few
12:54who worked in this field.
12:56Today, the civil society
12:58has entered this field
13:00with great strength.
13:02We also see that
13:04there are many schools
13:06that teach Andalusian music
13:08and we have a partnership
13:10with one of the schools
13:12to teach Andalusian music
13:14and this partnership
13:16is not only to preserve
13:18the past,
13:20but also to use
13:22what we have
13:24for the future.
13:26Because we see
13:28that the music scene
13:30has developed a lot.
13:32People who practiced
13:34the music scene
13:36entered it with new skills
13:38that were not
13:40in the past.
13:43But development
13:45must be prevented
13:47and all that does not develop
13:49is the end result.
13:51This is what you said, Sara.
13:53Sara, what distinguishes
13:55Moroccan Qaftan from
13:57traditional costumes that exist
13:59in other Arab countries
14:01or even the world?
14:03We see Arab, American,
14:05European celebrities
14:07wearing Moroccan Qaftan.
14:10The distinction
14:12of Moroccan Qaftan
14:14is one of the few
14:16in the world
14:18that is still in fashion.
14:20For example, there are
14:22Indian and Moroccan Qaftans.
14:24These are like
14:26cultural exceptions
14:28for
14:30European and
14:32modern Qaftans.
14:34The world is fascinated
14:36by it, but
14:39Moroccan Qaftans
14:41are not like
14:43traditional Qaftans
14:45which are
14:47out of fashion.
14:49Moroccan Qaftans
14:51are worn in a traditional way.
14:53For example,
14:55any Moroccan woman
14:57has a Qaftan culture.
14:59She wears Qaftans
15:01and dreams of
15:03becoming a Qaftan.
15:05This is what
15:08people want.
15:10People's love
15:12for Qaftans
15:14makes things
15:16develop.
15:18This is what happens
15:20in Morocco and India.
15:22Honestly,
15:24there is no love,
15:26no fashion,
15:28no Qaftan festivals,
15:30no workshops
15:32for people to learn
15:34and no traditional
15:36markets for Qaftans.
15:38People bought
15:40Qaftans with money
15:42but also with
15:44their feelings and love.
15:46There is no love.
15:48I think
15:50Qaftans are not dangerous
15:52and
15:54we are facing
15:56a dangerous time.
15:58Elias,
16:00I think the idea
16:02for Morocco
16:05is above
16:07the phenomenon
16:09of fashion.
16:11In the world,
16:13there is no fashion
16:15and no Qaftan.
16:17In our clothes,
16:19music,
16:21and food,
16:23there is a perfect balance
16:25between our lives
16:27and our culture.
16:29In our music,
16:31clothes, and food,
16:34there is a perfect balance
16:36between our lives
16:38and our culture.
16:40It is not about
16:42promoting markets
16:44that are created by markets.
16:46On the contrary,
16:48there is a balance
16:50between clothes,
16:52music,
16:54food,
16:56and culture.
16:58In Morocco,
17:00there is a difference
17:03between a song
17:05in a country
17:07and another song
17:09in another country.
17:11This is a culture
17:13that has been created
17:15by generations.
17:17This is one of the characteristics
17:19of our country,
17:21thank God.
17:23Cultural activities
17:25have two levels.
17:27There is a fashion level
17:29that changes
17:32and there is a culture level
17:34that is important.
17:38I am happy
17:40to hear that you have
17:42a passion
17:44in your music
17:46and in your Qaftan.
17:48Your Qaftan
17:50is a modern
17:52fabric
17:54that serves
17:56your name.
17:58Let's go back
18:00to the time when
18:02the Ministry of Culture
18:04was established in 1989 and 1992.
18:06From 1989 to 1992,
18:08there were recordings
18:10and audio recordings.
18:12The audio recordings
18:14took 130 hours
18:16to make,
18:18but the recordings
18:20were made by
18:22TANOIT,
18:24which is important
18:26for us to open the world.
18:29TANOIT and TANOIT
18:31read music scientifically
18:33so they have a scientific tool
18:35which is the note.
18:37It makes it easier for them
18:39to memorize, to pronounce
18:41and to deal with music
18:43creatively.
18:45We also have
18:47an information system
18:49that allows you to
18:51type and read
18:53poems in two ways.
18:55We can do this in Arabic
18:58so that even those who don't speak Arabic
19:00can type and sing
19:02those poems
19:04and understand the words.
19:06This is one of the advantages of Arabic.
19:08You can sing in Arabic
19:10and memorize it without understanding it.
19:12Because the first level
19:14of learning Arabic is listening.
19:16You listen and memorize
19:18and then you analyze and explain
19:20and go deeper.
19:22It's like the Latin language
19:24where you write the letter and the word.
19:27The Moroccan Qiftan
19:29is now
19:31very popular
19:33in our country.
19:35We see it in festivals
19:37and weddings
19:39and everywhere
19:41the Moroccan Qiftan is present.
19:43But there is also an increasing
19:45interest in international
19:47events
19:49like the Fashion Week
19:51for the Moroccan Qiftan.
19:53What are the challenges
19:56for you as designers
19:58in order to meet
20:00this standard?
20:04Honestly,
20:06in my personal experience
20:08I try not to be
20:10a fan of my work.
20:12I try to
20:14present
20:16new ideas
20:18and
20:20alternatives
20:22and different things
20:24because not all people
20:26will have this kind of listening.
20:28There are people
20:30who will listen to the Moroccan Qiftan
20:32and they will love it,
20:34especially in the Arab countries.
20:36But in international events
20:38we can try
20:40to have an audience
20:42because it is important
20:44for me to reach them
20:46to these international events.
20:48But we also use
20:50these Moroccan methods
20:53and the Moroccan spirit
20:55because there is indeed
20:57a Moroccan Qiftan
20:59but it is not
21:01the only one.
21:03There is also a number
21:05of different techniques
21:07and techniques
21:09that are not necessarily
21:11the same as the Moroccan Qiftan.
21:13These techniques
21:15allow a kind of creativity
21:17and this creativity is what
21:19interests me more than anything
21:22because I want to reach
21:24the idea of how we can
21:26reach Morocco
21:28from an international point of view
21:30without discrimination
21:32because it is a
21:34strong culture
21:36and it is a kind of trinity
21:38where you don't need to say
21:40that this is exactly
21:42the Moroccan way.
21:44You don't need to find excuses
21:46why this is the Moroccan way
21:48because it is the Moroccan way.
21:51I would like to add that
21:53we have reached the end of the program.
21:55No, this is what I wanted to say
21:57because the issue of culture
21:59for us
22:01is not only
22:03about the techniques
22:05that we have learned
22:07from abroad
22:09but also about the techniques
22:11that we have learned
22:13from our ancestors
22:15and if they sell them to us
22:17we will sell them to them.
22:20For example,
22:22the industrial grapes
22:24that we have learned from our ancestors
22:26are the same in terms of music
22:28and engineering.
22:30Therefore,
22:32we should be proud
22:34of this culture.
22:36It is a kind of conviction.
22:38With these beautiful words,
22:40we have reached the end of today's program
22:42and the end of this special coverage
22:44for Hassan Tani's prize
22:46and for Mariem's cup.
22:48See you next time.
22:50I would like to thank
22:52the people who helped me
22:54to prepare this program.
22:56I would also like to thank
22:58the secret agents,
23:00the technical directors
23:02and the people of Logistics
23:04who made this program possible.
23:06Thank you for your hospitality.
23:08See you next year.
23:18Thank you for your hospitality.
23:20See you next year.