“Critical accompaniment to the Amazigh Ramadan TV drama,” the focus of a national symposium in Tafraout
On the morning of Saturday, July 08, a round table was organized at the Mohammed V School in Tafraoute, entitled “Critical Accompanying the Amazigh Ramadan TV Drama”, as part of the works of the fourth day of the “Tafsout Festival of Maghreb Amazigh Cinema” organized by the “Anarouz Association for Development and Cultural Communication” during the period Between 05 and 09 July 2023, under its permanent slogan “Adrar and Cinema”.
In his intervention, under the title “Criticism of TV Drama.. On Its Essence, Legitimacy, and Limits,” the film critic, Muhammad Tsuikmin, explained that there is “a relationship that influences criticism and creativity that should be owned and owned within the horizon of its reasoning by the two main actors in the creative equation: the creator and the critic, a relationship that evokes The distance between freedom of creativity on the one hand, and critical control on the other hand, a distance that expands or narrows according to the different artistic genres on the one hand, and their social function on the other hand.
Tsuikmin added: “The more the artistic genre is transcendent, abstract, and elitist, the less its sociological function and its direct impact on action and general social behavior, and therefore the greater the margins of freedom for it, and this is the case for plastic arts, poetry, or even cinema in its independent and alternative part that is free from the constraints of public production.”
“But whenever the artistic genre is public,” the speaker adds, “the social function becomes stronger and the space for creative freedom decreases, and this applies to television drama, as it is an expanded public art.”
And he added: “When we talk about TV dramas, we necessarily put aside those propositions that are very sensitive to criticism and consider the product a purely artistic creation that transcends criticism and swims in the realms of freedom.” “TV drama is not pure art or art for the sake of art, but rather a means of socialization that should necessarily be subjected to artistic criticism and social control, in addition to financial and accounting oversight, as they are contractors for the implementation of public projects.”
The film critic pointed out that we must “put aside those authoritarian discourses that confiscate all creative freedom and judge the intentions, ideas and consciences of artists, and transform art into an ideology of a certain kind in crude and far from creative forms.”
And Muhammad Tsuikmin stressed that “criticism of television drama falls precisely at this point, so how can it fulfill its purposes? Without confiscating the freedom of creativity on the one hand, and without compromising the social functions of television drama, what is it a mass art on the other hand? Or in other words, what is the legitimacy of television criticism and what are its limits?”
He pointed out that the critical accompaniment that should be consolidated, and therefore that should be listened to by the creators of TV dramas, is that “issued by specialized critics because it is the guarantor of the quality of future artistic works, and the guarantor of their independence, creativity and freedom, with a full understanding of the impressionistic reactions from other parties, and an understanding of their backgrounds.” Without entering into tensions with it that may lead to damage to artwork and its creative identity based on imagination, that is, including drama or acting based on simulating reality and not reality itself, it is not possible to satisfy the whims of the audience who does not deal with the television product in this capacity / as a drama, but rather as facts, and facts for the audience It varies according to whims and is not scientific facts.
For his part, the film director, Hamid Zayan, emphasized that “criticisms and observations directed at Amazigh TV dramas and Amazigh works in general are important and encourage actors and directors to be creative.”
He pointed out that most of the “criticisms come from social networking sites and not from those with specialization,” adding: “There are no critics who specialize in the Amazigh drama, which has developed a lot on the artistic level, personification and decoration…”, and here “it is necessary to think about establishing an association for critics of Amazigh drama.” .
"The absence of specialists and followers of the Amazigh drama is impressive, and with it the directors and a number of actors feel frustrated and neglect their rights and not follow up on their work," Zayan said. Because “following these artists constitutes for them moral support, motivation, and a charge for creativity.”
Director Hamid Zayan criticized those who say, “This is not an Amazigh work,” noting that “the script selection committee does not differentiate between Amazigh and Darija-speaking dramas.”
For his part, actor and journalist Noureddine Najmi said, "The outcome of Amazigh drama since the launch of the Amazigh channel in 2010 is not honorable." Pointing out in his intervention that "the production outcome in numbers speaks of 160 films divided into the three tributaries of Amazigh and 25 series." He said, "This outcome does not encourage the establishment of a monetary movement."
Najmi asked, “Why are there no Amazigh productions throughout the year?” Why hasn't the Amazigh channel switched to continuous broadcasting, so that the production outcome will be more and stronger?
Najmi Al-Dour highlighted the suffering of the Amazigh actor, and said: “The Amazigh actor is viewed from a contemptuous angle and with an inferior view, and there are no equal conditions and field of work between the artists working in the Amazigh drama and their colleagues in the Moroccan dialect-speaking drama.” He added, “The Amazigh actor is less paid and does not have the conditions for production and creativity.”
The speaker described the audience of Amazigh TV dramas as “an exceptional audience that is thirsty for Amazigh cinema.” On the other hand, he said, "The Moroccan has the ability to watch all the films of the world, except for watching and following the Amazigh films, which are considered the original identity of Morocco."
Noureddine Najmi strongly criticized the absence of “propaganda for Amazigh productions” and said, “Amazigh drama does not receive publicity at all, unlike the Darija-speaking productions that we follow extensively in advertising panels from Tangiers to Lagouira.” He also criticized the absence of “propaganda for Amazigh drama in public channels that did not respect the book Endurances.”
Tafroat / Muntasir Athari
Source : websites