The Hero Myth

  L Seger Essay by Jayson Rivera Pabón

Moroccan cinema in Italy ,Avanti

Hollywood relies on blockbuster movies or genre

Hollywood is targetting teenagers in America.But, what gets the media wheels  go on is its realibilty of blockbusters or genre.Myth is a primary for producers and any script writer of the world can write for Hollywood even if he is from here; Morocco or other parts of the world . You only need skill and talent to wrire genre that deal with myth heroes"Indiana Jones" The star wars and more . Hollywood is intrested in myth because it has a large audience now i mean the world and surely War World Z will smash all world box offices and revenues will be blessing seasons this year for Hollywood .War World Zis about United Nations employee Gerry Lane traverses the world in a race against time to stop the Zombie pandemic that is toppling armies and governments, and threatening to destroy humanity itself.

  Writers Store_ Secrets of Blockbuster Movies - Part I by John Truby by vicmalt

Characters by Linda Seger

One-dimensional characters are plain, simple and unexplained.  Readers or viewers briefly “see” one-dimensional characters but these characters do not speak. The one-dimensional characters are usually cashiers, salespeople, drivers, servers, nurses, joggers, or the person walking down the street pushing a stroller.

Two-dimensional characters are similar to one-dimensional characters except two-dimensional characters use speech or gestures to react to what is going on around them  Still, two-dimensional characters are undeveloped and lack explanation, reason and depth.  Two-dimensional character reactions and interactions are often brief, but not always. A character may be present the majority of the time, but when s/he lacks history/backstory and complexity, the character is two-dimensional.

An effective, well-rounded, believable fictional character usually has three dimensions:

• thoughts
• emotions; and
• actions.

In screenwriting, the three dimensions are frequently described as:

• physiology;
• sociology; and
• psychology.

Three-dimensional characters have goals, ambitions, desires, motivating forces, fears and values.  In addition, they have habits, mannerisms, cultural tendencies and styles that are audible or visible to others.  In other words, a 3-D character has an inside and an outside.

Flat, misused or poorly developed characters are the best way to lose reader interest.  Here are some tips for creating three-dimensional characters:

A fully developed character has three dimensions:

 1) Thoughts, 2) Emotions, and 3) Actions.

A good character thinks, feels, and does things. A "character type" does only one of the three.

Think of a brainy professor character who thinks, but never shows emotion and never does anything. He's a character type. Think of a grieving widow - all emotion, no thoughts, and no actions. Think of a tough cop - all action, no thoughts, and no emotions. All are character types. All are incomplete characters. All are boring stereotypes

  Linda Seger Esquemas by DAvid ROman

SNRT artists allowed to work outside Dar El Brihi

SNRT artists are allowed to work outside Dar El Brihi. This is according to the law of the RIGHT OF THE ARTIST No 24 ARTICLE SEE PDF BELOW .SNRT is negociating this matter by its own juridic director whom he is willing to negoanciate with Dar Brihi Artists already disappointed of not giving them permission to work outside Televison .This is  happened when some of filmmakers have presented their artistic works  via productions companies  but refused practically by the new commission created by the recent famous controversial  -Cahiers des Charhes- of Mustapha El Khalifi the minister of communication .The commission has refused to allow SNRT artists to work on drama films outside Dar El Brihi.

By the way, SNRT drama artists have proven great talents and skills to produce handsome films such as Akher Romanciyeen by Khalid Ibrahimi awarded in Mekness Film Television 2O13
The Will by Allal El Alaoui , the jury prize in Baghdad International Film Festival 2012
Coup de ciseaux By Raouf Essabahi Cartage International Film Festival 2012
Sandala Ayoub by Abdelwaheed Mjahed UN award 
El Hawdaj by Mohamed Ben Ramadan awarded in Tunis
Tefal al Koumama by Hakim Bidaoui awarded  Cairo Radio and TV Arab Union and more ...

Chapitre VII : Dispositions particulières

Article 24 :

Le personnel des administrations publiques, des collectivités locales et des établissements publics peuvent réaliser des œuvres artistiques pour leur propre compte ou au profit des tiers, en dehors des heures du travail, à condition que ces activités n'aient pas d'effet sur le rendement de leur travail administratif et que le caractère commercial n'en soit pas prépondérant.

Bulletin Officiel n° 5126 du Jeudi 17 Juillet 2003.

الباب السابع : مقتضيات استثنائية

المادة : 24

يجوز لموظفي وأعوان الإدارات العمومية والجماعات المحلية والمؤسسات المحلية إنجاز الأعمال الفنية لحسابهم الخاص أو للغير خارج أوقات العمل شريطة ألا يؤثر ذلك على مرد ودية عملهم وأن لا يطغى عليه الطابع التجاري.

Lois qui régissent ces cadres juridiques

• loi n° 71-99 (Dhahir « Qanun el Fannan ») sur le statut de l'artiste. Loi générale sur le

statut de l’artiste.

• La loi relative aux droits d'auteur et aux droits voisins, 2000 (Dahir n° 1-00-20 du 9

kaada 1420 (15 février 2000)) et modifiée en 2006 (Dahir n° 1-05-192 du 15 moharrem

1427 (14 février 2006).

a) Conditions d'emploi et de travail

- Code du travail, loi N° 65-99 du 11 septembre 2003 (loi générale)

- Statut de l'artiste, loi N° 71.99 du 19 juin 2003 (loi spécifique)

- Décret N°2.00.354 du 1° novembre 2000 relatif à l'octroi de subventions dans

les domaines du théâtre et du livre.

- Arrêté conjoint du ministre de la culture et de la communication et du ministre de

l'économie, des finances, de la privatisation et du tourisme n° 1223-02 du 31 juillet

2002 fixant les modalités d'octroi de subventions de soutien à la production et à la

diffusion des œuvres théâtrales.

- Arrêté conjoint du ministre de la culture et de la communication et du ministre de

l'économie, des finances, de la privatisation et du tourisme n° 1224-02 (31 juillet 2002)

fixant les modalités d'octroi de subventions de soutien à la diffusion des livres.

.Chapitre VII : Dispositions particulières 

Article 24 :

Le personnel des administrations publiques, des collectivités locales et des établissements publics peuvent réaliser des œuvres artistiques pour leur propre compte ou au profit des tiers, en dehors des heures du travail, à condition que ces activités n'aientpas d'effet sur le rendement de leur travail administratif et que le caractère commercial n'en soit pas prépondérant.

  1-03-113 by allal

  [1] Bulletin Officiel n° 5126 du Jeudi 17 Juillet 2003. by allal

  Maroc Code Travail by allal

How can i get fund from CCM to organize Film Festivals in Morocco ?

You are Moroccan and live abroad and you love Moroccan cinema . May be you want to organise a film festival in the country you are residing . Moroccan authorities have found solutions to fund cinema organizing people.This PDF written by CCM is a good guide of cinema-goers either who want to pormote movies and its makers nationally and internationally. 

  Cps 2012 by allal

The board in screenwriting

The Board is a way for you to ‘ see’ your movie before you start writing.It is a way to easily test different scenes,story arcs,ideas,bits of dialogue and story rhytms and decide whether they work – or if they just plain suck .

The Basics of Screenwriting

Sub-plots

 Sub-plots contain all the same elements as the main plot--character, conflict and resolution. Although it used to be common to see sub-plots functioning only as comic relief, with little connection to the rest of the story, they now are expected to parallel and advance the main plot. Sub-plots involve secondary characters interacting with the protagonist or the antagonist. One of the sub-plots of Gladiator, for example, is the love story between Maximus and Commodus' sister, Lucilla. The romance has a beginning, middle and end just like the main story, but takes up very little screen time. Because Lucilla becomes involved in Maximus' attempts to overthrow her brother, the love story has a direct effect on the main plot. However, it does not overwhelm it.

  75038322 the Basics of Screenwriting by allal

flops and scams in the italian cinema

Cinema-goers screem to liberate cinema in Italy . obviously ,the italian cinema is in deep crisis in Italy. If masters are alive llike Fredirico Fellini , Pasolini and Antonioni  , they would be surprised to see mediocre Italian movies  around in theatres?

Robert Mckee's storylogue...

1. “Story is about trying to make sense out of the confusion, chaos, and terror of being human.”

McKee said that people are not on journeys. “Journey” is a euphemism for the truth that life is a battle or war. He stressed, “Purge euphemisms from your vocabulary, because they separate you from reality.” Does your brand speak the truth or is your story obfuscated by jargon?

 2. “You need to understand your characters in a God-like way.”

I learned that Hollywood will spend $1 billion this year on approximately 50,000 screenplay treatments that will never be made. Only one out of every 100 scripts makes it to the screen. McKee pointed to the roughly 250 screenwriters in the seminar and said only 2.5 writers will succeed out of the bunch. The primary reason for success is the amount of time and energy a writer must invest in researching characters to understand them and their environment in a “God-like way.” “Most of you are too lazy to do it,” he observed. How well do you know your customer, the protagonist in your brand story?

3. “People think that facts are the truth. Facts are neutral. They have no meaning. It’s what happened and why that’s the truth.”

We see this in powerpoint presentations that are littered with numbers, graphs and bullet points. People mistake facts and figures as compelling data when they are actually just the moraine leftover from human behavior. Wrap these facts in a story and the mind will make sense of them at the most human and compelling level.

4. “Express, don’t explain!”

Don’t underestimate the power of the mind to connect the dots. Your audience is smarter than you think. Indeed, the most powerful form of persuasion is when you involve your audience in your story so they arrive at the subtext of your message on their own. Otherwise, you’ll just piss them off by appearing to talk down to them.

5. “The conscious mind is PR for the subconscious mind where all of the real decisions are made.”

People buy with their hearts and justify their purchases with their heads. Sell with emotion.

6. “All stories take place in a small, little slice of the world.”

McKee talked about all great movies starting in small, intimate settings and then either expanding into the world or going deep with the character. Too often we want to be all things to all people creating marketing messages so vast they hold no meaning. Find one compelling idea and focus your story.

7. “It’s just like sex. The storyteller knows how to make love to the audience. You have to pace yourself.”

Pay attention to the nuance and pacing of your brand story across all mediums and how your protagonist is reacting, and you’ll enjoy a terrific love life with your customer.

8. “The irony of life is that you have to make up meaning and then believe in it in this meaningless life.”

Granted, McKee comes across as a bit of a fatalist. However, I believe it is true that our lives are what we make of them. So what meaning does your brand hold in the minds of your customers? Is your story authentic and does it resonate?

9. “The key to a great story is to give the audience what they want, but not how they expect it.”

How do you keep your brand stories interesting? Are you delivering on your promises and are you delighting your customers? Give them what they want, but make it interesting.

10. “Rituals get us through life as frictionless as possible, we follow them to avoid conflict.”

It is startlingly true. Society has created voluminous rituals to maintain order. Shaking hands. Kneeling in church. Coffee or tea over the newspaper in the morning. Opening doors for women. Popcorn before the movie. What brand rituals have you created? How do they weave your product or service into your customers’ lives to create a never ending story with you and your brand?

McKee was a fountain of wisdom and is endlessly quotable. So I’ll leave you with one last view on life from this brilliant storyteller:

“We all know that the great enterprise in our life is to come to terms with that crazy person inside of us that is poised to jump up and grab our sanity at any moment.”

khalid Akali - The yoke of Tetuan -

Written by Allal El Alaoui

Interesting artistic meeting with Khalid Akali in Oujda last spring . The event was the International Maghreb  Film Festival . Khalid introduces his short film called «  Some of lies » a very original and educational  shortfilm,already  primed  beningly ; the best female role .

Kaliloun mina Al Kadib’ literay means ‘ Some of Lies »  is about a little school girl haunted by lies and at the end ,she finds herself trapped in her lies and she realizes she has taken the wrong path ,which is of lying, and that the truth is a pawerful tool to face life .

Enver since that cinematic event which has taken place in Oujda, i never want to leave khalid especially he  is a man of wit , literature and intellect .What amazes me of him, his deeper  love with Sordou district around  Tetuan from which his novel  is inspired delicately .

Akali talks a lot about his native city ,Tetuan  his beloved white pipeon  and in fact he has written a beautiful  novel  called ‘ Atyaf  Al Beit Al Kadim » ‘Shadows of the old house » in Arabic and it is all about child memories mingled with mysterious characters such as Rakoush  and his charismatic and powerful father ,omnipresent in the novel ,along with other personnalities like women whom through their browdery , Khalid becomes voiyeur and circulates his little body around women beautiful thighs  only to  find out the world of sexuality and sensitivity . 

- Born in Tetouan (Morocco), 11/02/1965

- Continued his elementary and high school and university in the city itself.

- Earned a doctorate at the University of Abdelmalek Saadi in Tetouan 2005

- He is a professor at the Ministry of National Education, Higher Education and Scientific Research.

- Writes short stories since 1989

- The publication of several short stories, personal and localized, and critical articles and artistic and intellectual in many newspapers, journals and Moroccan and Arabic magazines.

- Participated in many of the cultural and literary events.

- Won the first prize of the Castillanic Arab story (Cervantes  Institute) 1992

- awarded  by the Writers Union of Morocco for young writers (genre-short story) 1994

- Certificate of Merit education on behalf of the Ministry of National Education (Tangiers) 2001

- His name was issued within the Moroccan Anthology of story short (publications and the Moroccan Ministry of Culture 2005)

- Issued his stories within the 'Manarate' selections from the new Moroccan story, short story club publications in Morocco 2001.

- Member of the Union of Writers of Morocco since 1996

- Founding member of the demonstration 'holiday book' cultural Tetouan in new finery.

- Founder of  Tetouan literary narratives , 2005

- Member of the Standing writing of Tetouan International Festival of Cinema .

-Closed circles, stories, the Union of Writers publications Morocco Rabat, 1995.

-Shadows  of the old house (Sordou district), a novel, library publications Salma cultural, Tetouan, 2007

-Hosni Wazzani multi-creator, study, m c, publications Asmir, Tetouan, 2009

-critic , creativity and reality ... Mr. Bahrawi model, study, m c, Dar Al Ain, Cairo, 2010

-Conscience and the remains of puppets, stories, Sinbad's publishing and media, Cairo, 2010

-Mysticism and monitoring feature stories mysticism in the Moroccan short story from the late forties to the beginning of the third millennium, the Union of Writers publications of Morocco and the Advisory Council for Human Rights, Rabat. 2012.

-Victoria lecomte Hampson, translating novelist, a series of books Nobel, Dar-term, Beirut - Damascus - Iraq, 2013

Under copyright: -

Bride eyelashes (novel) -

Badr al-Din and healing hat (novel for children) -

Rift (play) -

Eloquence of the short story (Studies in Arabic Short Stories)

Address: PO. B: 7334, Tetouan Central Post 93000, Morocco

/

The Screenwriting Bible by Sir William K. Coe

CHECKLIST FOR YOUR LOGLINE

Reveal the star's SITUATION

Reveal the important COMPLICATIONS

Describe the ACTION the star takes

Describe the star's CRISIS decision

Hint at the CLIMAX - the danger, the 'showdown'

Hint at the star's potential TRANSFORMATION

Identify SIZZLE: sex, greed, humor, danger, thrills, satisfaction

Identify GENRE

Keep it to three sentences

Use present tense

The Pitch

Many writers fear pitching their stories, if they wanted to perform for

an audience, they would not have chosen a solitary profession like

writing. Script writing may be a solitary pursuit when you face the

blank page; but once you put something magic on that blank page,

everybody wants to get into the act.

Treatment

A premise is an idea for a story; the set-up or situation, with little

or no story implied. Rarely written down to be presented.

A synopsis can be one long paragraph, or several paragraphs; probably

no more than a page-and-a-half in length; usually less, usually focused

on plot. It's often a concise distillation of a story that exists in

longer form, such as the synopsis of a script found in a coverage.

A treatment is a full exploration of a story. Covers character, plot,

setting, theme; clarifies the intent of the writer. Can contain

character descriptions, a synopsis, or statements on theme and tone.

Attempts to convey the filmgoing experience through to the story's end;

may use bits of key dialog. Usually more than three pages; average is

seven to twelve.

Occasionally, you'll get a producer or a development person who wants

you to give them a treatment so they can use it as a guide to pitch to

their boss or the company they have a deal with. Don't be surprised if,

after you give them the five pages, they ask you to condense it into

one or two.

Here are the components of a good treatment:

1. Start with an opening that hooks the reader.

2. Introduce the reader to your protagonist and make sure that we care

about this person.

3. Show us what the main conflict of the story is and what type of

story we're reading (drama, suspense, action, comedy, etc.)

4. Give us the story line (spine) and structure of the story. This

section should include the major scenes of the movie and the turning

points (act breaks).

5. End with a knockout ending that makes us want to shout "YES!"

Remember the goal of your treatment is to get them interested and

wanting more. Then, they'll call you for a meeting.

If it's at all possible, try

Techniques to Establish Pacing

Pacing, as it applies to fiction, could be described as the manipulation of time. Though pacing is often overlooked and misunderstood by beginning writers, it is one of the key craft elements a writer must master to produce good fiction. Best-selling author Elmore Leonard recommends simply 'cutting out everything, but the good parts.' While this is interesting advice, the following article covers the matter of pacing in a bit more detail.

The elements of time delineated in your story or screenplay include the time of day or period; scene versus summary; flashback; and foreshadowing. Elements of time raise the following questions:

1) When is the story being told as compared to when the events of the story took place?
2) Is there a distance in terms of time?
3) Does the story begin with the birth of the protagonist and end with the death? or Is the time more limited?
4) What narrative strategies should you use to convey the sense of time passing or the distance of the narration?

Scene is necessary to all fiction. You can't have a story without it. In order to have a crisis moment, for example, it has to be in a moment in time and, therefore, it cannot be summarized. A summary covers a longer period of time in a shorter passage. A scene covers a short period of time in a longer passage. What could take only a few seconds in real time might be covered in paragraphs, even pages, depending upon the writer and the event.

  Screenwriting Bible by DiamStam

Rewatch Paul Haggis’s Crash please...

Written by Allal El Alaoui

Why do I  invite cinemagoers to rewatch CRASH for the second or seventh times ? Because it is simply a  brilliant movie based on a good script mastered by the director himself called Paul Haggis.

Ever since Paul has discovered writing in his thrities by his teacher, he writes impressive scenarios such as  million dollar baby directed by Clint Eastwood  known  as a chef-d'oeuvre, primed  4 Oscars in 2005, as for Haggis got the Oscar as  the best script.

Yet, this one i mean CRASH is too well twisted in writing that you feel you are watching an intelligent  film.Acoording Linda seger, a good screenwriter  goes through three major things in writing in order to master  a script ; a time of competition ,a time of excellency and a time of mastering the craft . surely Paul has gone through these elements  and now he is really presenting movie goers via his technique of writing and realization,  a well formed script through which there  is rythm and pace and unifromity  .

Actors have sealed the craft by performing nicely and understanding the theme brilliantly « RACISM IN AMERICA’.It is all about U S citizens who are angry to each other belonging to a different communities either Black s, whites, hispano-americans , Iranaians or Chineses . Obviously , there are racist cops, black and white and White American women angry and unstable in an alienated  society where hatred  prevail.The most difficult part of this writing is how to gather so many protagonists and devellop their psycho in a rythmic story . That is a nice work Paul.

‘ Why does not The Moroccan love himself ?

Written by Ayla & Mrabet  and Nouhad Fathi

"Corrupt, corrupting liar, servile, hypocritical, false, not punctual, lazy, truant, biased, greedy, without words, rude, insensitive, aggressive, abusive, uncivil, noisy, polluting, irresponsible, speaking aloud in public not admitting his mistakes ....... " These words, written in 2009 by sociologist Abdessamad Dialmy summarize the image of Moroccans today.

Casablanca Boulevard Abdelmoumen, 9 Am in a small taxi. The untenable atmosphere is characteristic of driving in rush hour. From the back seat, a thirty year girl wantches taxi driver who sets the counter,and speeds up through handsome streets of Casblanca. The girl’s look is more insistent as the vehicle drives, the tramway passes by majesticall, in accommodating detours to the driver but expensive for its three passengers. The young woman smelling a scam. Certainly, the avenue is upside down, but it remains feasible. So the driver would seek to inflate a race already damped by the first client. Destination, she pretended to ignore the meter and prefers to verbally ask the amount of the race, sometimes the driver would announce lower price, in line with what it pays usual. The latter tells him the price as displayed, is incredible than she usually pays .as a result ,she slamms the door violently, muttering "tfou ala k7al ras" an insult to which he responds without hesitation"jiâana"

This scene is indicative of a disease that eats away the Moroccans, the lack of love of self. They do not like to put their hatred and their citizens when the situation allows. The insult client which ethnic group the driver belongs and which it is heself  part of it and the driver is the thief in history, for having defrauded with impunity.  they do not dare to blame themselves, even though they are aware. I do not like you because I do not like me.

"K7al rass", " tfou ala blad ", "lmaghrib dima lor lor" ... many invectives which have in common with  Moroccans. She does not like him because he is Moroccan, and indeed does not love her like that. He plans on the other his own resentment because "his perception of himself and the other is disempowering. What he did not like about him, he can not love her in the other, "says sociologist Abdessamad Dialmy. "We live in a state of stagnation, said meanwhile the psychologist and sexologist Abubakr Harakat. We can not love when literally wants to flee his country. " For him, even stronger than the self-hatred, the Moroccan himself for not being able to get better. He wants to be part of a system where education is failing, where corruption is the law, he has no identification repository. "Self-love can go with civility and respect," says the psychologist. The analysis of Professor Dialmy directly affects the identity of Morocco: "What percentage of religion, modernity, gender in the plural identity of Morocco? We do not know the dosage. " Also, our compatriot would be more inclined to focus on the bad reputation, true or false, it drags abroad, and offset by an ostentatious patriotism, artificial and primary. "What is proud to be Moroccan" asked Dialmy. Is this flag waving, cheering the victories of athletes and celebrate the success of Moroccans abroad? Too superficial to be sincere, according to the sociologist. "And yet, Harakat states, you can display a semblance of pride in saying yes, but I also, if I was abroad, I could do the same, at least." Paradoxically, the Moroccan is denigrated and displays its patriotic sensitivity all on edge. "The flag, the green and the red may be the only common denominator that we have and on which we agree, because we have the feeling of being lost elsewhere", says the psychologist  Dialmy "We can not be proud of our country if we are treated as citizens, when the state guarantees us its social services. When you see a minority monopolizes the country's wealth, the political elite breeds and remained in power, there is nothing to be proud of. The Moroccan knows and lives this fact everyday. "

he does not like the Moroccan citizen, he instead prefers Western compatriot. Supreme model of rectitude and propriety, examples of discrimination in favor of foreign abound: the owner who prefers to rent to expatriates under the pretext that they would be more specific to the hotel which is open at least dark a mixed couple, through the employer willing to pay double for a candidate whose name is foreign-sounding, these practices are commonplace in the most beautiful country in the world. "We prefer the Moroccan a competent and honest like French or German. Sometimes a Moroccan is competent but it's not enough, it is said that his word will not be required, as punctuality and performance are not guaranteed. This can be seen in public administration, where jackets are waiting quietly on their chairs absentee owners, "said Abdessamad Dialmy. It is not a question of honesty. For our citizens, the Western is the yardstick of the best, period. "Jiti b'hal Nasrani chi" and "jiti marroki" are the two extremes of the scale of the Moroccan aesthetic evaluation. Does not one calls "gawriya" mentality peaking paroxysmal opening?
For Abubakr Harakat this autodévalorisation be a manifestation of the complex of the colonized. "It is our pride that is masting. It is still attached to that mentally of north. " We do not like so far: it may well be richer and more modern, Occidental is not a Muslim, and a Muslim is "necessarily better" because it is in the way of God, to use the Under a Moroccan surfer. In the opinion of the journalist, writer and playwright Driss Ksikes, the resurgence of the protectorate would rather a demonstration of cunning guise of genuflections. "It is much more complex than that. Over time, the Moroccans have also realized that there are foreign scammers. It goes in both directions, the Moroccan known exploits abroad and did the same. It will even sell his image as someone better to maximize its profit ", to highlight the gap between what is news and what is thought. Just walk into any big city to see: foreign tourists are cheated with impunity as long as their facies betray their origins. "The only two times I came to Morocco, I had my dose of taxis at night rate during the day and boys cafes that serve alone in my tip money for their" testament Mathias, a young French 27 years. As for comparisons engaged in by Moroccans with the Arab world and overt racism towards other peoples of Africa, it is an entirely different story ...

"I do not even trust my own brother, and you think I'm going to lend you money?You think I do not know f3ayel lemgharba? ". Here is how Ahmed, 33, closes the conversation started a few minutes earlier by her neighbor came to borrow a few hundred dirhams to pay its water and electricity bills. This brief exchange is symptomatic of social relations in Morocco. If the cliché of Moroccan helpful and hospitable still good, it also drags a drug cheat, louvoyeur, untrustworthy. For Abdessamad Dialmy, mistrust reigns moral: "Like all corruptions are possible, the Moroccan living on his guard. As it does not cut with bad traditions, relics, nepotism and cronyism, it will always be afraid of being robbed, cheated, abused, abused, imprisoned, betrayed. " And act accordingly. This distrust for Driss Ksikes, is a direct reflection of the "underlying contempt for those who are unjustly lienholders." In short, a reverse’ hogra’ directed against those who practice it. It is this "sense of predation authorized and orchestrated," in the words of the writer, which pushes the Moroccans not to be trusted, because aware of the defects of their kind.

"Between Moroccans, we understand, we know by heart. In the sense that I can overlook a deception, while implying the other not exaggerate what mat3ye9ch "said Morad student. He adds: "I know that the other can give me a dirty trick, as I know, in every way, I could do the same. Each seeks only his own interest. " This is what our playwright called "market willing dupes" as hard as Moroccans are to themselves, there is a perpetual accommodation, an almost permanent bargaining in everyday and social practices. "We often feel that people are open, jokers, they quickly become friends. All this is artificial, "ton Abdessamad Dialmy to explain that behind a facade of openness, the Moroccan is constantly on guard, because" how do you know which one to trust each other, if we n has no confidence in our institutions? ". Abubakr Harakat for all the frustrations of the Moroccan from above. Same story on the side of the sociologist, who believes that "the foundation of trust, it is the state," and that he does not honor his contract."It is as if the sense of the collective does not exist. The register of individualism is pushed to the extreme, and we feel we work in silos, "said Driss Ksikes.According to him, more than a lack of confidence surrounding our society suffers from a "silent violence, epidermal, on the edge of reality and barely visible, which broke from time to time."

The autodévaluation of our citizens is often associated with a sense of inevitability. Phrases such as "Moroccans will never change", "it is good that bitch", "ghir khalliha 3allah" have almost become mannerisms. As if the people spoke a single passive voice, aware of his pain and unable to extricate himself by. For Driss Ksikes is because people do not look at itself and are constantly leak. We would be in the "reign of almost" where the approximation is not a defect but a kind of hybrid standard, that of "ghir 3addi, sellek, 7na fel Maghrib" (read, let run, do with, we are in Morocco). Abdessamad Dialmy explains that if Morocco enjoys a positive image compared to other Arab countries, by its democratic opening, it does not play in the imagination, at the sensitivity of the Moroccan daily. "Despite the political opening, the Moroccan has not gained much in terms of self-esteem. Instead, it was accompanied by a bad manipulation of freedom. "A front opening, again, in a country rife with corruption and injustice. "When comparing the songs of the 1970s and those of today, we realize that the unrest was political and it is today socio-economic" Abubakr Harakat analysis. If sexologist believes that the discomfort is not just the preserve of Moroccans, he argues adamant that "we have more freedom to express themselves, but we always saw as bad everyday." "Moroccans are psychological suffering, just consult the survey by the Ministry of Health on mental health," he says. It depresses our image of ourselves is deteriorated and, yes, we are schizo: "Not in the psychopathological sense, but clearly we are suffering from a split personality," says Harakat.

Besides the tension between tradition and modernity, there is a desire to move forward while advocating apathy. "We want things to change without participating.We use and abuse free pass when you can. We are accustomed to the economic and mental assistantship, "explains sexologist. A note of hope, however: "Today, there are still 20 February that can wake us up. Moroccans, for 40 years, have, like the reed bent without breaking. Of course, that does not happen smoothly. "And then, one word comes up: dignity. Chanted in Morocco and the Arab world during his spring became synonymous with freedom, this call to regain dignity is perhaps the first step to success is to love yourself. For Ksikes, "is standing, have a spine, not to kowtow or bow for a right. It is to be human in a city he built, where he does not feel inferior to serve masters who hold the place. " He concluded: "The dignity is the antithesis of servitude." Waiting to love, we can already like the idea.
Interview Abdessamad Dialmy sociologist: "We need a moral civil"

In 2009, the sociologist Abdessamad Dialmy published on his blog a text that questions the disenchantment of the Moroccan for himself. Two years later he engaged in Tel Quel new analytical elements.

The Moroccan has a very low opinion of himself. The Moroccan is hated and knows and feels corrupt, corrupting liar, servile, calculating, hypocritical, false, opportunistic, crushed, with no rights ... non-citizen in a nutshell. How do you want someone who sees and who feels this way, happens to love? There is a perpetual self-denial, denial that leads to the rejection of the other Moroccan similar. Do not love yourself refers to a deep sense of frustration and falls deprivations. This results in aggressive behavior on a daily basis, ranging from simple rudeness or discourtesy, to verbal and physical aggression.

How do you explain the disenchantment of self?

The central determinant of the disenchantment of the self is of a political nature. It is not in our genes, it is not in our nature. It was the Moroccan like that, we wanted it like that, devoid of values, moral sense. Religious and civil legal join in command well. Doing good is initially a religious value that is secular in modern society, it also commands to do good, but in the name of a legal civil without transcendence. Religious morality requires doing good with the hope of paradise and / or fear of hell. It is addressed to man as it is for a child, in terms of reward or punishment. By cons, morality is a civil legal citizen invites well to successfully live together in a friendly and freedom. It treats people as adults. Man is at the center.The misfortune of the Moroccan, is that the political system has lost its religious morality without access to civil morality. Instead, he debauched.

Yet we talk in recent years of a religious revival in Morocco ..

.
In fact, religion is revitalized as a political engine, as a means to condemn people in their everyday life, used primarily as a tool to legitimize power. This revitalization of religion is not a revitalization of faith as an emotion, such as spirituality and love as it is rather the emergence of a vindictive and accusatory religiosity, accountant, serving a political agenda. The predominant Islamic religion is not a desire to live together in peace and tolerance. As such, I would argue that religion has disappeared as a legal practice and as a moral practice.In the best case, it is morality, that is to say, appeal to morality, a vain appeal inadequate.

What is the difference between moral and religious civil?

Unlike religious morality, moral civil does not need a transcendent higher power. It is the result of a social contract, it is implemented by the company itself, by members of a society agree to abide by certain values ​​to live together in peace.Every citizen shall respect this moral because it is his, and everyone does his.The moral promotes civil equality of citizens regardless of their gender, ethnicity, religion, color, marital status, sexual orientation ...

Is there an explanation for this state of in-between?

This in-between is the expression of a transition that lasts for years because no clear ideological choice has been made by the policy. We want to play and win on both counts, the religious and the modern. So, we saw the card. We pick here and there, depending on market conditions, according to interest. On the one hand, we are in a system where you want to have Islam as the state religion while refusing to be a theocratic state. On the other hand, we want democracy as a political system while rejecting secularism. We're not going after either the religious or logic of modern logic. It is claimed reconcile. It is the policy yourself. It is this result that yourself wandering our policy, our moral debauchery.

How to stop it?

We need a secular political system that imposes a moral civil as public morality and religion that holds as a private faith freely chosen. It is the moral of the worthy citizen, with its rights. This moral civil, only to have to regulate public space, is also the only one to have to be the source of law, including family law and sexuality. Nothing prevents the positive right to take some religious taboos and give them a civilian, but positive law emanates from a changing popular will become constant as the majority political opinion. At the same time, secularism guarantees the king to be the Commander of the Faithful and the individual's right to freely exercise their faith and worship, not to exercise or not to be. It is important that the public space is regulated by a civil corporation, religiously neutral, which applies to all citizens. Of course, with legislative and executive powers not derived from genuine elections, the Moroccan never cease to hate himself and Moroccans do not cease to despise each other. In the current political system that devalues ​​by devaluing his voice and participation, Morocco can not love. The 20 February Movement has probably triggered a dynamic that rehabilitates the Moroccan in his own eyes ... Say no to ‘hogra’, this is the beginning of self-love.

Nostalgia It was better before?

"It was better before," we tend to repeat our parents. Why? "Because it was before," simply. Urban legend has it that the Moroccan was more united, more honest, more proud and includes "before". Thence to situate this period, theories abound. Harakat according to which the last "real" sign of common pride was signed by the Green March, our self-esteem would have taken a hit in the 1980s, due to political and economic burdens experienced by the country. For Abdessamad Dialmy the disenchantment began when we wanted, after March 1965, "build a docile and ignorant people, not to take the risk, by educating, creating protest." No nostalgia side of the playwright Driss Ksikes: "Things are built over time and history. We formed a small state - which runs through repression, bypass and compensation - and low society in which the structures are crumbling. "

Moroccan Citizen in progress

"I love my country, but I would like more if it was right." This quote from Camus, taken from the Letter to my German friend and borrowed by Driss Ksikes on Facebook, unleashed passions and comments applied to the Moroccan sauce. "I do not know what it means to be Moroccan," says Ksikes. "I just know what human being in Morocco." So exit the identity navel, the Moroccan exception and all forms of expressions overused over the month, "we are a nation of individuals."For Abdessamad Dialmy, the Moroccan is synonymous with citizenship .... And it does not yet exist. "When defining a Moroccan, it highlights one or more components of its identity: rich, black, poor, Fassi âaroubi ... We are still in a stage of pre-Moroccan, pre-citizenship. Does not feel citizen, regardless of our socio-economic status, that the Moroccan despises and actually benefit others. "For Ksikes, "there is mostly a failure of the common area, the rules for living together." "A strong state and a strong society based on knowledge, transparency, mutual trust and values. This requires the diptych freedom, non-negotiable, and justice, valid for all. " It also goes by "strong intermediation structures that provide trust and confidence" We are still far away. No virtuous state, a Moroccan citizenship can not exist.

A self-deprecating , metionioning Joummani

There was a time when projecting his pain on the person Khatri Ould Said Joummani was a national sport. In October 1975 Joummani, grand sheikh of the Sahara, formalizes his allegiance to Hassan II. It was a few days of the Green March, at a time when doubts about the Moroccan Sahara was more reprehensible or wrong. "Joummani is causing the bey'a. For those convinced that the Sahara was not authentic, it was a typical example of the idiot who got screwed, "suggests Professor Dialmy. This allegiance was the death knell of a whole era of humor stamped "Joummani". Moroccans were full of imagination to go crazy. Alternately portrayed as stupid (Joummani who defiled solid, prefers to defecate in his sock), crude (Joummani begging a dirham to Hassan II to buy beans of African leaders) and little mannered (Joummani , hurry to eat, telling a meeting of Arab leaders that wahda is not unity but 13h of lunch time) Joummani chiefly acted as a mediator for the Moroccan people, a way to get messages without incurring the wrath of the regime. "By telling jokes on Joummani , Moroccans expressed political opinion" adds Dialmy.