Project Name:
Culture and Folklore In Yemen
Our Goal:
To Restoration Interest in Yemeni Popular Culture and Folklore
Period of implementation of the project
15 days
Implementated by
Al Quds school students
Partners:
Al Quds school
The Technical Department of the Yemeni Ministry of Education
Center for Democracy and Election Management, American University (Global Connections and Exchanges Program)
Narrative
The time frame for completing this project was very short, the electricity in Yemen is not always available so we couldn’t use the internet and did our work only during the day as women are not allowed to make site visits at night.
In addition to that some places were very far to visit. Such as national theater and a house of culture. We asked a male student from the Ibn Majed school to go and collected information for us .And we paid for him. He found difficulty to arrive to these places in which most people didn’t know where are these places. When he arrived to a house of cultures they hadn’t any activities so he could take some photos by using flip video. He also took photo to a hall of (22may) (the name of the hall). It is used for show parties. Japanese representatives used the room for two weeks to show the Japanese culture: songs, dance and traditional clothes which are called kimono, and Japanese films. This hall is used also to show the workings of Yemeni painters in the national theater, there are artists there that show their plays.
Will be in 27 march and will end in 3rd of April and by the end of these plays, they will reward the artist.During our journey in searching of the house of music.
We found difficulty because no one know that there is a house of music in Yemen. But finally we arrived to it. We met the owner and the members of the house .
We attend the practice of piano we spent a very interesting time there . They gave us some CDs and notebooks about the house. They also invited us to make a journey to the house.
The house of folklores
The head of this center gave us a book about the difficulties that she is faced in her work. She also gave us pictures about the works that disabled student finally we went to folklore house. The owner of this house is Arwa Othman . In this house we saw everything about Yemeni heritage such as the equipment of kitchen and the clothes of pride we got books and pictures that tell us about the Yemeni heritage. They gave us appointment to visit a house of heritage
-things that we used in our project;
1- video camera .
2- flip camera .
3- some books which talk about Yemeni art and culture .
4- some DCs .
5- our computer in the school and in the home.
6- the aim of this project .
1- discover the Yemeni heritage in the following:
a-music .
b-dance .
c-traditional clothes and jewellery
Project Summary:
Arts and Culture
Q 1 What are the arts and cultures of the traditional forms of art, music and dance, now found in Yemeni society?
Beginning, when the answer to this question, we must say that the arts are a component of the culture of any people. In other words, that culture is a general concept, including a completed physical and moral of a people; material, is to: (industries, machinery, letters, clothing, buildings, etc. ..); and moral: (arts, literature, laws, customs, customs , traditions, ... etc.). Thus, each culture, the arts part of it all. But, any art, is one of the most important components of culture.
And then talk about Yemeni culture and broad copiously. Which we dealt with him will be limited to the traditional arts of Yemen, living, ie what is practiced by a vital role in the present time. Accordingly, these arts can be divided to:
1) visual arts; and include:
• decorations and traditional patterns; in architecture, fashion, jewelry, etc ....
• contemporary art; which is one of the arts has become important in the cultural landscape of contemporary Yemeni.
2) Architecture, the art of construction; and include:
• traditional architecture with purely domestic assets: embodied in the local style of the building, the most prominent models in the architecture and art of construction: Sana'a, Hadramout, the Tihama, Mahweet, Yafa, Sa'ada, Rad'ah, Dhamar, ... etc..
• Arab and Islamic architecture: (mosques, official government buildings, military forts and castles, ... etc.), dating back to different periods of Arab Islamic history.
• colonial architecture (Colonial Architecture), (colonial-era architecture): which is characteristic of Victorian architecture in the English colonies in India and the countries of the east; is reflected in the pattern of building many buildings built in the era of British occupation (1839 1967), in: Aden , Lahj, Hadramout, etc ....
3) musical genres: divided, according to the structure of synthetic, structure, melodic and rhythmic, and the language and form of her poems, to the two main types:
A classic: This is the highest form of singing and music in Yemen, and cannot be attributed to a specific region, but Yemen is a whole, and reflected in the distinguished two types:
• Muashah Yemen: what was known, an error, on behalf of (song Alsnanip).
• usually grab the religious: with some of the differences bear melodic and performing minor, which may vary from one region to another.
B popularity: the patterns of singing and music emanating from among the people, in different regions of Yemen, with various properties, according to the diversity of natural environments, and being the local social, of the various regions they represent, and two types are subdivided into two main:
Falakolorip: the music and singing, which does not know a thousand words or melodies, but attributed to the people who produced, in different periods of its history, and spread through space and time; and still people are making in the various rituals; Kagame, children, and songs occasions (weddings, birth , pilgrimages, ... etc.), love songs, and songs and songs of work, ... etc..
Modern and Contemporary: The colors in the singing with musical melodies and rhythms characteristic, the most famous: San'aani (which is not etched traditional Yemeni, who errs when many people call it singing San'aani), Alhadji, Yaf'i, Hadrami, Pilgrimage, Adani.
4) Arts Dance: include many colors, and the names of many, varied from one region to another; They are of a wide variety in musical rhythms, and its motor, and expressive.
5) Literary arts;, also divided, into two main categories:
A classic: The literature written in the arts, such as:
• Hair: various forms; including: Eloquent (my heritage, and modern), Commoner (different levels of dialects), Ahumaini (a kind of poetry of Yemen, relies on the language closer to the classic, but does not take into account the rules of Arabic grammar in the formation of words, but tends to Hosting-late; to that described by some Bmlhon eloquent or articulate Malhoun).
• short story and novel: the arts of modern literature, which flourished much in the Yemeni contemporary literature, and the story is short enjoy the level of a wide range of creative writing excellence, quality and quantity, particularly in the last two decades.
• historical writings.
• notes and biographies; of leaders, thinkers, writers, artists, etc ....
Oral b: include popular literature is written, which is like music, singing folk, did not know what?, Where?, And when?; So is the people are the writer and author, in different periods of its history, and because it carries a lot of features and cultural specificities; has spread through space and time; and people still repeat it in various rituals, and affect one way or another in their lives, choices, and vision of the realities of the universe; oral literature and images of Yemen: Myths, myths, folk tales, and poems, governance, and words, sayings, and customs, .. . etc..
6 popular games: many types of games, different names, including those involving boys, male and female, played in, including what is specific to one gender. One of those games that is specific to certain regions of Yemen, and another in the exercise of all or some areas of Yemen; Unfortunately, many of them on his way to oblivion and disappearing from the memory of generations, has not been collected and documented by those dealing with issues of folklore.
Q 2: What is the main source of these arts? Or where did they originate?
The relationship between man and nature, and the struggle to subject them to provide their food, clothing and housing, and respond to the vagaries of Mnachadtha and Onoaiha and disasters, and exercise to work, and entering into relationships with other human beings; all those key factors generated in the first rights to all forms of art, which had its beginnings either simulation for sounds and images and movements of nature, or the relationship between man and nature, or to the sounds and movements of work and human activity, or to the rituals practiced by primitive; then upgraded the primitive forms, from the simulation, the direction of abstraction and autonomy of action that leads to the same, and much she for the first assets to individual self-expression or the General human aspirations and the joys and grief; and then the arts for all the people, you can not search for assets of holes in his memory of the Assembly, and the date of its presence and its relations with humanity, at home and within the environmental and social surroundings.
So we can say that art is a product of the Yemeni rationale for the existence and development of man, Yemeni relations social nature and his environment, as one of the oldest societies on Earth in history. However, this does not eliminate the role of communication and relations between acculturation Yemeni society and other communities in other human, throughout its history's ancient, and the impact that communication in some arts of Yemen; and highlights the influence is evident in certain types of dance arts, music, architecture, particularly in the arts that flourished in the cities and large cities, which existed by the foreign communities, as a result of political relations, economic or invasion and occupation, and by virtue of mixing with communities of foreign residents, as reflected also in the arts of coastal areas, which were historically in contact and relationships with other societies and cultures and the arts; Some of the dances and musical templates African and Hindi, one can note its presence within the arts coastal areas of Yemen, and observe the impact of Egyptian music on the song Aden. It also notes the impact of architecture Hindi in Aden and Hadramout, Hodeidah and pilgrimage. Similarly, the learner can find a trail of music and dance, Turkey and Central Asia in some forms of singing and music and dance in Sanaa and other towns in the central region of Yemen.
Also find the impact of the Ayyubid and Mamluk architecture in many of the facilities built during the reign of the two apostolic Tahirids, and the impact of Ottoman architecture of the buildings constructed during the Ottoman Empire in Yemen.
One can not lose sight of the art contemporary Yemeni who benefited from the schools and the methods and techniques of European art.
Q 3 What are the unique way in our society? And interesting, from art, music and dance?
There are plenty of arts and events of Yemen People's interesting, however they do not receive adequate care, which can be made collect, record, document and study these arts, events and publicity. Including:
• Muashah Yemen: it is what is known, wrongly, on behalf of (the song Alsnanip).
• dance arts of the different regions of Yemen; a diverse and broad, and appears in some of them the impact of cross-fertilization and cross-cultural communication and technical cooperation between the Yemeni community and other communities, the most prominent example of this, the art and Tnberp Alliop in Aden and Hadramout: the art of music is of African descent, a machinery Special grandeur and dances and rhythms, and spread Rqsath in Yemen, Oman, and some cities on the banks of the Red Sea.
Dances and mountainous areas; including carrying diversity of musical rhythms and installation of motor and expressive, and dramatic structure that is reshaping the form and man's relation to his environment and reality in the abstract images of the movements of the body according to the diversity of rhythmic amazing.
• festivals; such as on the night of joy in the Tihama.
Q 4 There are many celebrations and festivals, unique of its kind in our society, and in other communities, in different parts of the world ... What is it?
From our feasts and popular festivals, which have become extinct, or on their way to extinction:
• Festival of joy in the Tihama.
• Festival, visit the tomb of Prophet Hood in Hadramout.
• season-Hashimi's visit in Aden.
• Visit the Ibn Alwan Lifers.
• Holidays and celebrations popular in Hadramout and Mahra.
Q 5 Is it possible to identify the culture of a community through their artwork and traditional? How can this be?
In the time within which the arts one of the main elements of the culture of any people, the art itself is the most important forms of expression for the content of that culture; as reflecting the most important cultural characteristics of the society that produced them. And through, any art, we can identify the construction of spiritual and emotional support to that community and its relations with humanity, and his vision of itself and the world.
Q 6 How can the means of global communication, such as the Internet and television, can influence our perception of art and culture of peoples?
There is no doubt that the Internet and television channels have abolished many of the barriers that stand between peoples and between the arts and other human cultures, which provided for a person opening up to the culture of the other of which was unknown, and to identify the content of the multiple visions of humanity. Thus, consciously interact with the potential offered by the Internet and television can enhance humanitarian partnership on issues of concern to all peoples of the earth, and contributes to creating a culture believes in a future common human destiny, and based on respect for cultural diversity, respect for others, and basic human rights to freedom and a dignified life , and the fight against forms of injustice and ugliness in the world, and stop the destruction of the planet (House of human ),... etc..
Q 7 What do you think is art, or culture, who acquired the interest exaggerated in our country?
No art has the slightest interest, in our country, so it becomes a form of fiction to talk about the art of possession of a disproportionate amount of attention.
Q 8 What is the importance of arts and culture, opinion, cultural identity?
Arts of a people is one of the most important features of cultural identity. As mentioned above it is the most important forms of expression for the content of that culture; as reflecting the most important cultural characteristics of society that produced them. And through, any art, we can identify the construction of spiritual and emotional support to that community and its relations with humanity, and his vision of itself and the world. At the same time store the accumulation of experiences and skills, emotions, and the wisdom of the people and relationships through the ages. Cultural identity and not only that a product accumulation provided by the arts to the rest of the other tributaries, cultural, geographical, and historical sites.
Folklore arts and culture of the peoples
Introduction:
Folklore is considered one of the civilizations aspect in the history.
Folklore as known in the modern era " the originality and spirit of the culture, it is the inspiration by the deep sense of people, the Folklore is affected by many factors these factors differ from one country to another and from one society to another within the country.
Folklores are not apart from the notions history, as the history of the country influence the art and the cultural styles, for example: music and dancing differ from one part to another just because of difference in culture, politic aspects, religious and cultural aspects…etc. Sculpture for example, was a religious aspect because the gods of the sun god sculpture and the moon, in the old days people used the sculpture to represent their important people and to show their big cemeteries like the ones in Egypt. Hence Art was founded to symbolize the historical important events and to show the victories of the nations. And that why we say that Art is the result of the community heritage and the country heritage, this heritage came from our grandparents experiences.
Here we will be talking about the folklore, Art and culture in Yemen; we will start in Dhfar, which is a city in Yemen. Geographically Yemen is opened country it has a long seashore on the red sea in the west, and the Arab sea and the Indian ocean in the south. This location made it one the way of the trade routes in the old days. Merchants from Africa used to arrive to Yemen and from Yemen they go to the other parts of the Arab peninsula, also the Indian merchants and the Asian, the exchange between these merchant and the Yemeni people reflects the Yemeni culture in terms of the architecture. Art, culture, even in terms of religion as these people used to discuss with the others different aspects and the used learn new things and to teach these people some of their culture .
Education and culture:
1. Plato
Plato sees that man consists of a dualism of mind and body. For him teaching nature is to give every possible beauty of body and soul, hence, the function of teaching (education) is to self-control and to strengthen the body and in order to reach to the happiness of individuals and society.
2.Abu Hamid al-Ghazali
Abu Hamid al-Ghazali that education is something like manufacturing, it is an horned task and job, and it is respected by everyone as it aims basically to Self-control which leads later to good behavior and to God's blessing
3. John Dewey
Founder of Pragmatic, for him educations is life. And that it is its means and tools. It has two sides:
a.The psychological side which related to the educated people.
b.The social side which relates to the community and the society we live in .
4. Spencer
For him education is preparing for the whole life.
5. Emile Durkheim
He believes that education is the social composition of individuals.
6. Stuart Mill:
Believes that education is all the action done by man either intentionally or unintentionally, directly or indirectly in order to reach a high degree of human perfection.
7. Abdullah Draz
Education for him is taking care of the individual and developing him and leading him to the right way of maturity and perfection, which qualifies him for life.
Educational functions
1. Way of society survival
2. Means of communication and the development of individuals
3. The transfer of cultural heritage
4.Building good attitudes
5. Guidance and social control
6. Achieving the overall growth
7. Gain experience
8. Language acquisition.
9. The acquisition of moral values, aesthetic and taste
Properties of Education
1. Education is a social humanitarian process
2. Education is a process of constant change.
3. Education is a process of total growth
4. Education is a conditioned by factors of the place and time factors.
The objectives of education
1. Self-realization and growth
2. Confirmation of human relations
3. Economic efficiency
4. Good citizenship and civic responsibility
The concept of culture
The word culture in Arabic means to be smart, to understand also it means to learn quickly and to win something. The new use of the word culture is to be sophisticated, to knowledgeable.
Culture in the Western view also has several meanings one of which is what Matthew Arnold said in his book as “our attempted to reach perfection through the best of the human science, which leads to the development of the humanity
Some other definitions
1. Culture is the beliefs, values, ethics, law, knowledge, ideas and language. It is the customs and traditions, the skills and the ways of thinking and the different behavior patterns, clothing, tools and inventions and discoveries. In shot it is a way of life for a community in a particular time and place.
2. Culture means all life aspects that were developed by the people in the community. It means the common way of life people in a particular community live in, including their ways of thinking and behaviors. Their attitudes in religion, law, language, art, and also includes products such as houses - Clothing - tools.
3. Everything created by human hands and minds. It is the things that distinct one community from another.
4. It is everything a man can do to arrive to safety, happiness in his community. It is achieving the psychological, social and biological needs.
5. It is the values, the physical systems , the socio-political values, the religious beliefs, the intellectual and economic statues, also it includes people's habits and attitudes, literature, art - and culture passed down from generation to generation, and group to group and of the means of transport. The language spoken by members of the community.
Although each definition of these definitions may differ from the other, it is noticed that there are some shared which can lead us to a comprehensive concept of culture
Culture :
Group of behavioral patterns that distinguish a given society. Combining these behaviors together they became a unit, and this unit is what is known by (culture).
Culture is process of education and learning in the community, it is inherited from one -generation to another generation, language plays an important role in the culture movement
Culture properties
1. Man is the only creature who can make a culture and keep that culture. Despite the apparent differences in cultures, there are some general characteristics of all cultures, some of these properties are :
2. It is a humanistic feature i.e. not for animals or other things
3. It is a sociable feature which happened because of communication with others within the one community and with other societies and communities.
4. It is acquired by learning from others like acquiring the language and like learning other things in life, it is transferred from one person to another from one generation to another without stopping, it in accumulative process and it goes on through history and it will continue to go on. Culture many times change due to some factors like colonization or technology improvement…etc but at the same time it keeps the old customs , what we do with the new things is just we add what the society like and prevent what the society abuse.
5. It is a spiritual and material process at the same time. it specifies the way of community life style politically, socially, educationally, virtually and also it help in identifying the customs of the culture.
6. it is sharable, which means that every factor relate to the other and affect it and is affected by it, for example the economic system is affected by the political system and is affected by it and the two systems affect the culture and the customs of the society and these in turn affect them and affect the family relations in things like marriage, the relationship between the grown up people and the children, any change in one cultural aspect cause a change in the other things as well.
7. It is featured by consistency and at the same time it can be change occasionally especially nowadays due to the technology changes. Examples of the consistent things: religion and language.
8. It has the same frame generally in all the cultures: as every culture has materialistic factors, social factors, symbolic factors...etc but then every culture has its unique features.
9. It is subjected to transmission and spread from generation to generation, and one group to another in many ways the most important mean is education, it plays an important role in the process of cultural transmission, it is spread rapidly and effectively. It is transmitted if it is accepted by society or if it helps in solving a specific problem, or able to satisfy the needs of its members. The extent of spread and the degree of integration become quicker if the culture meets these things.
10. Culture varies in its content largely that sometimes it appear to be contradicted, we can see in one community it is allowed to have more than one wife but in other communities it is not allowed to have more than one wife, this difference because of the different human mind. It makes the man. Although the man is the one who makes the culture but also culture make the man and shape his behavior , according to the changes that happened every now and then. If we take a child as an example this child start to absorb the culture of the family then when going out in to the society some of the things changed to the best and other may change to the worst but that first culture changed, then when going to school he find another culture he absorb it and in the university and the in the job each of these culture play role in his character, so we have to take care about these thing when considering a school for a kid or a job as it will reflect our personality through time. It is though and action ,when the man was created on the land he had to start thinking, and to practice some jobs so that he can continue his life, and from the moment he faced some problems. For example, the man did not know how to bury the body but the God sent a bird to teach him how to do it. It was a problem for him in the beginning but after the occurring of this bird it became culture or custom.
Culture functions
1. It distinct one community from another , and it describes the general features that characterize every society.
2. It helps in community stabilization, as everyone get to know what is expected by/ form him, his rights and his duties without any clash with other people.
3. Culture forms an important psychological dimension of the individual within the community, as he feels just for being with his community; also because he deals with the members of the community on the basis of frameworks, systems and values that he accepted for himself.
4. Shows the criteria and the values adapted by a particular group within a given society, it shows the limits of the individual relationships and the way of dealings with other organizations and bodies within the group and society and outside of it.
5. Culture is working to find common interests among members of the society , it seeks the existence of common goals, and endeavor to achieve those goals. It links the community members with each other and even gives them a sense of belonging , solidarity and cooperation
6. Culture reserves the society old heritage, it moves it from one generation to another. Because of this process there is a link between the current generations and the old ones unless we have this link culture would be lost.
7. Culture determines man's internal thinks and his relation with the Creator (God), with his counterparts and with nature.
8. Culture is the soule of social life, it accelerate life. No work can be done unless it is done by a man and with the help or contribution of the society.
9. Culture unify the nation because it constitutes the society
10. Culture helps in anticipating the individual and the community's behaviors in different situations. This means if we understand the culture of a community, we can mostly anticipate their behavior and understand the reasons behind some of their behavior.
Elements of culture
There are several elements that together constitute the culture of a particular region or the culture of particular people. What are the elements of culture?
· Language: The various languages are essentially an important part of the culture. Read information about different languages.
· Norms: Every society or every civilization has a set of norms, which are an inseparable part, and an important element of the culture. This can include the folkways, mores, taboos and rituals in a culture.
· Values: The social values of a particular civilization are also considered as an element of the culture. The values of a culture often refer to the things to be achieved or the things, which are considered of great worth or value in a particular culture.
· Religion and Beliefs: The religion and the beliefs of the people in a civilization play an important role in shaping up of the culture as well. Read information about world religions.
· Social Collectives: Social collectives refer to the social groups, organizations, communities, institutions, classes, and societies, which are considered as symbolic social constructions.
· Statuses and Roles: A status or a social role is nothing but a slot or position within a group or society, which gives an overall idea of the social structure and hence is an important element of culture. This can also include traditional gender-based or age-based roles.
· Cultural Integration: This includes the degree of harmony or integration within the various elements of culture. This can include elements like sub-cultures, local cultures and the difference between historical and cultural traditions.
· Artifacts :Artifacts are the physical things that are found that have particular symbolism for a culture. They may even be endowed with mystical properties. The first products of a company. Prizes won in grueling challenges and so on are all artifacts.
· Artifacts can also be more everyday objects, such as the bunch of flowers in reception. They main thing is that they have special meaning, at the very least for the people in the culture. There may well be stories told about them.
· The purpose of artifacts are as reminders and triggers. When people in the culture see them, they think about their meaning and hence are reminded of their identity as a member of the culture, and, by association, of the rules of the culture.
· Artifacts may also be used in specific rituals. Churches do this, of course. But so also do organizations.
· Stories, histories, myths, legends, jokes :Culture is often embedded and transmitted through stories, whether they are deep and obviously intended as learning devices, or whether they appear more subtly, for example in humor and jokes.
· A typical story includes a bad guy (often shady and unnamed) and a good guy (often the founder or a prototypical cultural member). There may also be an innocent. The story evolves in a classic format, with the bad guy being spotted and vanquished by the good guy, with the innocent being rescued and learning the greatness of the culture into the bargain.
· Sometimes there stories are true. Sometimes nobody knows. Sometimes they are elaborations on a relatively simple truth. The power of the stories are in when and how they are told, and the effect they have on their recipients.
· Rituals, rites, ceremonies, celebrations: Rituals are processes or sets of actions which are repeated in specific circumstances and with specific meaning.
· They may be used in such as rites of passage, such as when someone is promoted or retires. They may be associated with company events such as the release of a new event. They may also be associated with everyday events such as Christmas.
· Whatever the circumstance, the predictability of the rituals and the seriousness of the meaning all combine to sustain the culture.
· Heroes : Heroes in a culture are named people who act as prototypes, or idealized examples, by which cultural members learn of the correct or 'perfect' behavior.
· The classic heroes are the founders of the organization, who are often portrayed as much whiter and perfect than they actually are or were. Heroes may also be such as the janitor who tackled a burglar or a customer-service agent who went out of their way to delight a customer. In such stories they symbolize and teach people the ideal behaviors and norms of the culture.
· Symbols and symbolic action: Symbols, like artifacts, are things which act as triggers to remind people in the culture of its rules, beliefs, etc. They act as a shorthand way to keep people aligned.
· Symbols can also be used to indicate status within a culture. This includes clothing, office decor and so on. Status symbols signal to others to help them use the correct behavior with others in the hierarchy. They also lock in the users of the symbols into prescribed behaviors that are appropriate for their status and position.
· There may be many symbols around an organization, from pictures of products on the walls to the words and handshakes used in greeting cultural members from around the world.
· Beliefs, assumptions and mental models: An organization and culture will often share beliefs and ways of understanding the world. This helps smooth communications and agreement, but can also become fatal blinkers that blind everyone to impending dangers.
· Attitudes : Attitudes are the external displays of underlying beliefs that people use to signal to other people of their membership. This includes internal members (look: I'm conforming to the rules. Please don't exclude me).
· Attitudes also can be used to give warning, such as when a street gang member eyes up a member of the public. By using a long hard stare, they are using national cultural symbolism to indicate their threat.
· Rules, norms, ethical codes, values : The norms and values of a culture are effectively the rules by which its members must abide, or risk rejection from the culture (which is one of the most feared sanctions known). They are embedded in the artifacts, symbols, stories, attitudes, and so on.
Reference :1. http://changingminds.org/explanations/culture/elements_of_culture.htm
2.http://www.buzzle.com/articles/what-are-the-elements-of-culture.html
The relationship between education and culture
The relationship between the culture and education is very strong. This relationship becomes very clear in protecting the Heritage, enhancing it, and simplifying it fro the coming generations. Every community and every nation grow their children in a way that reflect their culture, the community feel happy when seeing their children practicing the inherited culture.
This relationship is the relationship of interaction and mutual influence in the first place. We can not think of having one without the other, and the relationship has grown closer and closer, c in light of the changes and developments which have a profound impact on various aspects of human life. Culture and education can be considered as two side of one coin, as culture draw the line for education and education develops the culture.
What is culture for education
culture for education is the general framework that set its movement and orientation, in the light of that formulate a philosophy and from that derives its goals and objectives.
What is education for culture
Education for culture is one of its components. It is a very important condition for the conserving and sustaining it, and transferring it to the coming generations. Education is the active role in regeneration and renewing developing it. The good selection of its elements results building the community, and its rise and progress, it maintains its cohesion, unity, and identity.
Educational important roles in serving the culture
1.The role of the carrier's conservative culture. Through acquiring the individuals the culture of the society and thus keeping the culture from being demolished.
2. The role of the developer of the culture, Education develops the culture, when it allows individuals to interact positively with the contemporary cultures, to gain useful knowledge of science and technology and means of modern life, and adding it to the culture of the community.
Renewal of Culture:
This occurs through the exchange of culture and highlight the flaws and then try to address them as well, and this can be assisted by education establishments and cultural elements from other cultures in an attempt to remedy the effects of certain negative, or a combination of elements of the incoming and the other a list of possible innovation in the culture .. This occurs in the areas like, art, literature and science, too ..
Arts of speech in Dhofar community :
There are kinds and types of Arts of speech in Dhofar community as it is common in any community and this diversified and varied in form and content and can be divided into two kinds:
1- one kind performed in Arabic ( Modari )
Which is the dominant color in the coastal urban environment and most concentrated in Mirbat.
This color represents the artistic message of the community outside the province.
2- The other color which is performed in the Arab southern tongue (ie Humairi). It is done in the dialects of Hemiari. This dialect spreads further in the mountains of Dhofar (Oman) , and its villages. In the rural community and the desert colors of the Arts say, as is the case in the Sahel region
Colors of art in Dhofar:
Musical arts that is related to the life of the sea
Arts related to the agriculture seasons
Arts of the mountains and the desert
Arts of cattle herding or water resource
Just as there is diversity and distinction in the songs of fishermen and sea lords from those who work in agriculture in terms of the meaning of the word and the music etc, so the camel shepherd chanting is also different from that of cattle and sheep shepherd chanting in the mountain or in the desert. The man is the son of his environment where he is shaped and create according to the pattern of his life.
And if we go deeper in the urban, rural and desert arts in the province
of Dhofar, we find a diversity of emotional expression and difference in description and discussion. In the urban environment for instance we find varieties of musical patterns that have been established in the traditional life of people and gained particularity through the life of the community to the degree of fame on local and national level, where these templates earned favorable reception by others and got its place at the level of singing and music performance Regarding the verbal Humairi art it is natural that it doesn't find an area of acceptance and adoption outside the boundaries of the province Given the difficulty of understanding the language with the exception of the specialists and scholars who find in this art historical authenticity and traditional depth that shows the traditions and cultural diversity of this region, which confirms the authenticity of its people and the diversity of their cultural and social ties.
Arts of speech in Oman (Dhofar cities)
There is artistic variety in the cities of Dhofar
1- spoken Art that fascinates the listener and reflects what the soul simmers of sadness and joy and what permeates the daily movement of the society, and this takes the musical forms accompanied by musical rhythm and enthusiastic spoken art if we may say, represented in the Arts of men poetries.
2 . (Alhbot and Zamil Art)
In the field of musical art there are number of names represented as known lyric templates and stand-alone, such as:
Dance in Yemen
In many countries dances are considered as a popular folkloric and entertainment aside, and a body and musical expression of part of their history. However in Yemen they reflect the past and the present mixed with wars with other invaders, and with the Yemeni tribes themselves, and sometimes between parts within a specific tribe. These dances show the permanent and restless reaction to defend land, honor and property. And some Yemeni tribes still celebrate today by dancing as an expression of victory on another tribe or taking and old or new revenge.
In Yemen, there are quite many traditional fighting and war dances, most notably is «Bara» of various kinds. This dance is common in high mountain regions such as Sana'a, Dhamar, Hajjah governorates and some areas of the governorate of Ibb. There are other dances such as «Alhakfa» and «Farsani» in Tihama, western of Yemen, and «Al-Ida» in Hadramout province in south-east of the country. The vice president of the People's Dance Group of the Ministry of Culture, Ali Mohammadi says that «Bara» is a purely military combat dance, and the word «Bara» means rapid steps, and this dance is composed of four rhythms; the first is called the «Al-Dassa'a», and the second « Al-Wessta »and the third« Al-Saare » and the last one is called the «Al-hoshalya».
There are several types of «Bura»; such «Al-Sanhani», «Al-Matari», «Al-Hamdani» and others which are attributed to the names of regions and villages. «Bura» usually Begins with something called «Saiani», which is a gourd on the «bowl», (a metal pot), and this gourd is considered an invitation to gather members of the tribe to inform them the news of an event, for instance, the death or kill of someone or a possible attack on the tribe from other tribe.
While the spread of coastal dances in Yemen, Mohammadi tells « Middle East » news paper that some of these dances were transferred from neighboring African countries to Yemen such as « Alhakfa »and« AlFarsani », and the latter is performed in an artistic and skillful way of swords show and is not without risk. In Althammia and coastal dances are performed to the sound of the flute on the contrary of high mountain regions in which the dances are performed to the sound of trumpet.
Mohammedi attributes the spread of military and combat dances to the fact that Yemen was «a desirable area to invaders and dances have come to represent a kind of self-defense or stimulate fighters .. When you see Alhoshalia which is a part of the Bara dance, it reflects the dancer ability to use all types of weapons and to defend himself and his tribe and his country ».
He stresses that dances generally in Tihama have a pattern of war; Among the most famous dances in the region is «Alhakfa». The origin of the word in the Arabic language is Hakef which means fawn sitting, and its performance (dance) is completely as the deer under the tree, and its a group dance begins by gourd drums strongly accompanied by flute, where the dancers line up and whistle whistles like the sibilate of snakes. The dancer on the right of the line raises up his left hand, and twists his hand in a snake-like way, and the dancer in the left of the line raises also his right hand, and folds his hand as the first one and then one or two players get out of the line to perform their skills, these skills are called in Thammi dialect «Al-Ashla» or «Altabrish».
Dancers line up and everyone faces up the other in different ways such «Alzera», which is a sitting on the fingertips, which is the most difficult movement in the dance down and up, but more difficult is the second form, which is «Al-Mohangal», which is a sitting and standing up and down on one foot more slowly than the first, and the length of time spent by a man up and down shows his strength.
And to the above-mentioned types of dances, researcher Maksher adds that there are many fighting dances in Tihama, such as «Al-homrah», «Al-shanab», «Altasief», «Almobayana» or sword dance. This dance is very dangerous, and it makes you feel as if you were in a battle. The performer is the hitter on the drum and dancer at the same time; Alombayn or the dancer moves with his sword with the drum beating in the direction of the drummer. It’s a really accurate, sensitive and serious dance, that any error of any of the two could have serious consequences
A number of tools such as daggers "jambya" is generally used in the Yemeni fighting dances, as well as swords and sticks. In some areas, dances are performed with daggers, but the dancers performed carrying old rifles or machine guns such as the modern (Kalashnikov).
In all of this, of course, a signal and indicator to the war and its preparation. Mokasher tells «Middle East» that these dances are militancy, and who watches them finds them so. They are war dances through the way of performance and the equipment used, as well as some believe that some of these dances were devotional ones, beside being combat dances.
These dances were performed immediately before and after the wars and also at weddings for example, after the girl wed to her husband, and after he gets into his bride he gets out to the public of his tribe and throws a Rial (Maria Teresa)(currency), and then performed a folk dance called «Altamssiah» ; the purpose of it is to say that the man has taken what he wants and has taken your girl and throw you the Rial and she will be carried to him with your consent or without it. And then he returns over the horse and is celebrated by people of his village or his tribe with dances indicate that he was victorious, and took the girl.
The Yemeni researcher from Tihama unequivocally stresses that it can not segregate these traditional dances from the phenomenon of war in the tribal communities of Yemen, which the most prominent as he says the wars with the Imamate in Yemen. The centenarians, who he met in Tihama assured him that before every war waged by Al-Zaranik tribes for example, which are well-known tribes in Tihama and famous by their viciousness in the fighting, those wars began with the dances mentioned above in order to machinate the enemy or invader or occupier, while the fighters of the other party were performing«Bura» dance.
And when the Zaranik won over the invading or occupying armies they would perform fighting dances that symbolize the victory. This has been stated by the Soviet researcher Shandrov in a book written after his visit to Tihama in Yemen in 1930.
With the passage of time, especially since after the Yemeni revolution in the early Sixties of the last century, the performance of fighting dances has not been only restricted to war events, but also come to be performed today in the wedding events without that a lot of viewers be aware of its symbolism of combat. Moreover, most of these mentioned dances and particularly the famous of them are performed to the western public that visits Yemen in the cultural activities held here and there every year. Perhaps some of the most striking things today is that, in some cases, one passes in the Tahrir Square street, which is in the center of the capital Sanaa and finds an audience wrapped around a number of dancers and drummers who often have a need for money, so they provide art for a measly sum of money.
Folklor dance Gail Bawazir
Gail Bawazir is a community of rural, agricultural and artisan character, whose social classes have varied, and formed according to the kind of works practiced by the population, and depending on the position gained by each class in the city. Throughout its history, Gail Bawazir was an open city to many parts of the mass influx of Hadramout and outside which resulted to create a social combination varied in its classes, and this diversity gave each class its specificities, from which the numerous dances that have characterized each class from the other, but some of the dances have become limited to a class without the other, and is considered as a property exercised only by its members.
Therefore the entire dances in the city have been divided accordingly into three sections:
Dances performed by newcomers to the city and lived in cities and rural areas and villages, which have been characterized by monotonous performance with the exception of work dances that are carried out by peasants and agricultural workers and craftsmen at work and beyond.
You would see the routine dance in Al-Idah, AlShabwany, Alzerbadi and Alzf and Almarfa and others.
Dances performed by the population of the desert: who some of them have settled Al-Gail or had to come to it from time to time on occasions. These dances have been characterized by lightness and speed in performance. Most of these dances do not use the tunes with the exception of some of them such as (Alnoh). Most of the dances depend on the trumpet, and Almadrof, clapping and collective singing chanted by the dancers in the form of Coral.
African character dances: marked by quick rhythms, and agility, as in (Zamel or Sharh Alabeed) and (Albambila) and others.
We will try to give a simple idea of dances that were practiced by the residents of Gail Bawazir city in their various rituals.
Al Zamil:
A kind of old dances that their roots are believed to belong to the era of the ancient civilization of Yemen. It has been practiced since ancient times in a manner similar to what it is now.
: But it was not formalized, as it was characterized by a spontaneous feature. For example, tribes were to receive tribal allies, sharing them the joys and victories by Zamil, which is an intermittent audio movement fast and slow according to the occasion and its kind.
Zamil emerged when the tribe of Aal-Omar Ba Amar, and their members settled the Gail, and became restricted to them. Then appeared another kind of Zamil, called (Almarfa) when the tribes coming from Yafa or what is called (Alaskar) settled the Gail. Zamil became known through them and we use in the drum Altassa with the Hager, in addition to known instruments such as the sword and the jambia. The presence of the poet with them is considered unlike Zamel Omar Ba Omar, who do not use any rhythms but depends on the repetition of what their poet with special tune accompanied with rifle bullets and the weapons they use while performing this dance.
Al-Iddah
It is considered one of the oldest dances like Al-Zamil, and it is one of the dances of war, and must have evolved through the ages in its tools and the way of dance until it reached the dance form performed currently.
This dance is one of the most popular ones practiced by members of society, and it is rare to find someone in the area who does not excel in it.
It is also known that the Iddah as one dance of war dances the Tassa tool form part of it because the Tassa is linked to the enthusiastic feature of the dance to raise the motivation and declare a state of willingness to attack the enemy. So it is sometimes called upon Al-Iddah dance the dance of Tassa.
The dance of Iddah has appeared in Al-Gail as known to us, and became famous during the era of Sheikh Abdul Rahim bin Saad (the Sufi), where a set of customs was developed in his era, and Iddah was one of them, and he showed it in its current form.
The instruments of this dance was kept in his time in the (Hadrah), where his residence, and the community center of Aal Bawazir, then turned in the era of Abdul Rahim bin Salim Bawazir to the era of (Muhammad Obeid Baqahaizel) when Gail city expanded as a popular game associated with most occasions, especially in marriages what made Abdul Rahim appoint Baqahaizel to maintain and supervise the tools Iddah dance.
Then this dance continued and has become the distinctive dance accompanying the people of Gail in all occasions and seasonal visits.
Al-Shabwani:
One of the old dances, and the origin of its name is unknown. Some sources say it belongs to the city of Shabwa, capital of the ancient province of Hadramaut. But In fact, we do not know the origin of this name as we do not know the majority names of other popular dances.
Shabwani dance is related to Al-iddah. Therefore this dance can not be found only with the presence of Al-Iddah, so they are linked and complement each other and highlight the purpose and the true meaning of these dances.
Al-Iddah dance according to the above is a war dance consists of groups of people make up an army of two different tribes. Each tribe is accompanied by its poet who provides it with his poetries and the dancers repeat on their way to their goal which is the field of battle. Thus, the place where they arrive and prepare to perform the game of AlShabwani or (madarah AlShabwani) represents the war field or battleground.
After the singers finish singing the rows begin to assemble in the form of two facing rows each row is called (Shanaf), and each Shanaf represents a tribe. Then entered the popular instruments which are composed of Alhager and Almarawess and Attawss, while entering the Shanaf which is near the place of the singers starts the attack. It advances towards the opposing Shanaf and this is called (Altalaa), then they hold hands and walk away to signify victory until they reach their original place, the other Shanaf begins advance towards them doing the same work. The movements are repeated where every movement done by the dancers represents a sense of cohesion and coherence, which is supposed to be during the battle. The role of the poets starts in this dance where each poet is considered as an official spokesperson for his tribe. And so the dance continue to its end and then the rhythm withdraw from the center of the track due to the closeness of the rows, then they adhere hands in hands and raise them as a sign of peace; therefore it is a dance of war and peace. Finally the two tribes or lines return from Madrah AlShabwani by Al-Iddah dance just like they started with it.
Women dance:
Women in Gail Bawazir have many special dances formed by the social traditions customs and conditions. their own customs, traditions and social conditions play an important role in their formation.
There are some of the common dances in which women dance with men, especially the women in the desert or the so-called (Alroai). It became restricted to them for their excellence in this arts.
Women practice these traditional dances at weddings, private parties or what is called (Alshrohyat), and are performed by women teams (Nawbat), in closed places away from the eyes of men using popular instruments, such as Alhager and Almarawess.
some of types of women dances in AlGail: Al Filati, Sharh Alnissa, AlZaffin with all its types, and other dances of the other
(Ref: Directorate Gail Bawazir)
Al-Janbiah
A Janbiah with all components
this is a janbiah with all components. The prices of Jambiahs can go up from 500 riyals to 200 million Yemeni riyals equivalent to the value of U.S. $ 1 million. Its value increase according to three things;
Quality: the origin of made, type of handle and its ring ... etc..
Taste: it is related to the form and the way the making.
Age: This is about ancient Janabi, which are inherited, and becomes old-fashion.
Handle: Most of the well-made Janbiahs are known by their handles. In fact it is what determine the price of Yemeni Jambiah.. , The most famous handles are the ones that give the Jambiah the name of al-Janabi Alsaifani (taken from serenity: the purity of color),they are manufactured from the ivory of the black rhino, which cost for each U.S. $ 1500 per Kg.
Jambiah is made of iron put inside a cot takes a bend shape protects it from damage. These cots or cases are usually made of wood can be decorated by leather, silver or jewels. The belt of the Jambiah is about 2 – 3 inches in width.
Usage: It is used as a cutting weapon, as is the case of swords, knives and daggers. As for the Yemeni society it is in fact a weapon used in the Bura during wedding parties.
Manufacturing
Yemeni Janbiah is made of the four main parts of it the iron, Alasib, the handle. They are made in the markets of old Sanaa, which are still called the market of Janabi;
Bura: it’s a war dance believed to be performed by Yemenis during the periods of war for recreation, but at present it is performed to celebrate wedding parties; There are several types of this dance but the name is one "Bura",
Holidays:
Shapes and colors could be different and languages and tongues could vary, but hearts remain unified across the Arab and Islamic world by the law of God and his religion of Islam. This unification is reflected in the view of many aspects of life, including the occasion of celebrating Eid Al Fitr
Eid in Egypt
Its preparation begins with buying new clothes for children and even young people, where streets becomes crowded in towns and villages throughout the entire week before the Eid. Families roam the shops to buy the feast supplies like clothes and shoes, and possibly new furniture as well. Eid in Egypt is always associated with new and shops become decorated to celebrate the arrival of the holiday. What is interesting, in Egypt, is that the night before Eid, whether it was of Eid al-Adha or Eid al-Fitr has been associated in the minds of Egyptian with a popular song of the Star of the East (Oum Kalthoum) named (yalaylat aleid Anasteena). Following the Eid prayer people rush to their homes to perform Nahr (sacrificing a sheep) and distribute some of its meat to the relatives and the poor and needy in accordance with the teachings of Islam. Then everyone have the breakfast consisting of meat and (Fatah) which is a common tradition and breakfast meat is usually (boiled) because its the fastest way to prepare the breakfast. Them everyone starts to visit friends and relatives and exchange Eid congratulations which take place during the days of holiday. Everyone is keen to host the relatives and friends and invite them to visit and have lunch or dinner together. And children give a special joy on the feast in Egypt. They get together in their colorful clothes since the early morning to circumambulate the streets of the district, whether in cities or village
Families also gather to go out into the gardens, parks and some go to the coastal cities of Egypt like Alexandria to spend a day or more, but these trips may not come only after the second day of Eid, after everybody completes the main duties of the feast such as sacrifice and visiting relatives and congratulating them.
In the application of the teachings of Islam all Muslims are keen to achieve the kinship and closeness and social contact especially in the feast so the poor or needy never feel that they are deprived of their right of excitement in the holiday. This appears evidently in Syria where rich people take care of poor. Before the feast those rich people of neighborhood and the leaderships go to the (mayor of the quarter) or the chief of the district to ask him about the status of neighborhood residents and the poor and the needy where everyone provides whatever he can. For example, the owner of a garment factory offers new clothes to the mayor of the quarter to distribute them to the poor, and the owner of a shoe factory gives shoes and so on. However those who do not have what they can give like clothes etc. they make some payments to the (mayor of the quarter) who distributes this money to the poor before Eid.
Reference stop site 55
Eid in Syria
The status of the country before Eid: markets in Syria, during Eid are in high movement and activity of buying and selling ahead of the feast. Many families come to buy new clothes for their children and shops remain 24-hour open for an entire week before Eid. Traditional markets of Damascus become crowded and the most famous of these markets are (Al-Hamidia ) and (Anisswan) and (Assoof). On the other hand the most famous dishes in Syrian are (Altaskiah) (fataa with ghee or oil) and (Alshakeriah), which is meat in the form of small cubes cooked with milk and starch, and served with white rice or Gurghol. In the breakfast Syrians eat beans (and Masbaha) which is ( crunched Homos with Tahina). For drink, which is offered to guests is always Arabic coffee and called (bitter coffee). In the Eid evenings Syrians eat (Alhelatia) and (Almamool), in addition to dates of all kinds. Mr. Mohammed Shaker said that in the morning of the first day of Eid, everyone heads to visit relatives while the kids go to the streets and parks, gardens, such as (Altalea) park and (Baramkeh) and (Happy Land) gardens to celebrate the festival. In the afternoon people stay home to get comfort
Cinema in Yemen عن عناوين ثقافية (http://www.anaweeen.net/index.php?action=showNews&id=608) Addresseing cultural (http://www.anaweeen.net/index.php?action=showNews&id=608)
ما تتعرض له صالات العرض السينمائي في اليمن من محنة يستدعي تدخلات عاجلة لإنقاذ ما يمكن إنقاذه من هذه الصالات التي أغلقت وبيعت معظمها وتحولت كثيرات منها إلى مراكز تجارية وأسواق لبيع القات.. What is at the cinema in Yemen calls for the plight of the urgent interventions to save what can be saved from these halls that have closed and sold most of them and turned many of them into shopping centers and markets for the sale of khat ..
ولا يمكن الحديث عن سينما في أي بلد دون الحديث عن صالات ودور العرض باعتبارها البنية الأساس التي يعتمد عليها في الارتقاء بالوعي الاجتماعي بقيمة وأهمية السينما وإيجاد متفرج متابع لا يتردد في الدفع من ماله لمشاهدة جديد العرض السينمائي مساهما بذلك في إيجاد صناعة سينمائية في اليمن .. Can not talk about the film in any country without talking about the galleries and theaters as the structure upon which the foundation in raising social awareness of the value and importance of cinema and the creation of spectators Watch Streamer does not hesitate to payment of money to see a new cinema, thus contributing to the creation of film industry in Yemen .. وبدون ذلك يبقى الحديث عن سينما في اليمن محض هراء .. Otherwise, keep talking about cinema in Yemen nonsense .. هكذا علق احد الكتاب، معتبرا أن المجتمع مازال ينظر إلى رواد صالات العرض نظرة سلبية بسبب تدني وعي المجتمع وعدم إدراكه للدور الهام الذي تمثله السينما في الحياة نتيجة تراجع حضور صالات العرض وتدني مستوى خدماتها وإهمالها حتى صار حالها إلى ما صار إليه اليوم.. Thus, one writer commented, adding that the community is still seen as pioneers of a negative view of showrooms because of the low awareness of society and not aware of the important role that represents life as a cinema attendance fell galleries and the low level of services and waiting for it to become what has come to the same to him today ..
والحديث عن صالات العرض مرتبط بالحديث عن المؤسسة العامة للسينما والمسرح، والتي تعتبر أول مؤسسة ثقافية في تاريخ اليمن الحديث تجمع بين أنشطة الإنتاج السينمائي والمسرحي، وقد تم إنشاءها بموجب قرار جمهوري رقم (85) لعام 1990م بشأن تعيين قيادات الهيئات والمؤسسات الثقافية ومنها قيادة المؤسسة ،وبعد صدور القرار كان لزاما على المؤسسة إتباع جملة من الإجراءات التمهيدية الأساسية منها "مسح وتقييم حقوق و التزامات المؤسسة العامة للسينما في محافظة عدن، تلخصت في انه يتبع المؤسسة نحو 25 دار عرض سينمائي شعبية كانت متهالكة وبقدرة تشغيلية متدنية، وضخامة في العمالة قياساً بحجم النشاط التي بلغ قوامه 318 موظفاً وعاملاً وبلغت الديون الخارجية والداخلية المتراكمة في عام 1989م، نحو 178 مليون ريال دين داخلي و73 ألف دولار دين خارجي، وكان هناك 3 كاميرات تصوير سينمائي مع بعض الملحقات بحاجة ماسة لعمرة شاملة وبلغ مخزون الأفلام السينمائية الروائية العربية والهندية والأمريكية And talk about the galleries linked to talk about the institution of the cinema and theater, which is the first cultural institution in the history of modern Yemen bring the activities of film production and theater, and was established by Presidential decree No. (85) for 1990 on the appointment of leaders of organizations and cultural institutions, including the leadership of institution, after the decision was necessary for the institution to follow a set of pre-trial proceedings, including the basic "survey and evaluation of the rights and obligations of the General Organization for Cinema in the governorate of Aden, he follows the eradication of the institution about 25 cinema's popularity was rickety and operational capacity is low, and the magnitude of in employment relative magnitude of the activity which was of 318 staff members and employees amounted to external and domestic debt accumulated in 1989, around 178 million riyals, internal debt and 73 thousand dollars of foreign debt, and there were 3 cameras filming with some of the accessories needed urgently overhauled and inventories stood at movies novelist, Arabic, Hindi and American
والشرقية نحو 932 فلماً في عام 1990م وقد صدر قرار بحرق بعضها وتوقيف بعضها وتبادل لبعض آخر منها، و رفع تقرير إلى وزير الثقافة آنذاك متضمنا مقترحات باليات المعالجة. And Eastern Europe in about 932 when in 1990 The decision was made to burn some of them and arrest some of them and an exchange of some other ones, and to report to the Minister of Culture at that time including the mechanics of the proposals addressed.
كان ذلك عن وضع دور العرض في المحافظات الجنوبية والشرقية أما عن حالها في المحافظات الشمالية فكانت جميعها ملكا للقطاع الخاص وبلغ عددها وفقا لعدد من المصادر حتى العام 1990 نحو 24 دار عرض وحسب تلك المصادر فان اليمن عرفت صالات العرض العامة منذ الخمسينات ولم تظهر رسميا في المحافظات الشمالية إلا في سنة 1962م . This was on the development of cinema in the southern and eastern provinces but remains unchanged in the northern provinces were all owned by the private sector and numbered according to the number of sources until the year 1990 some 24 galleries and according to these sources, Yemen known public galleries since the fifties did not appear officially in the provinces North only in 1962.
قرابة خمسين صالة عرض سينمائي في الجمهورية منها 25 صالة عرض أغلق معظمها نتيجة بيع بعضها ونهب بعض آخر، وإعادة المؤمم منها إلى أصحابها في المحافظات الجنوبية والشرقية وبعضهم عمل على بيعها وتحولت معظمها إلى مراكز تجارية وبعضها أدى تراجع أداءها إلى تراكم خسائرها، وبالتالي تهالكها وتحول مالكها إلى استثمارها في أغراض أخرى فيما عمد البعض الآخر إلى بيعها تحت إغراء العروض المقدمة لشرائها بمبالغ كبيرة نظراً لان معظمها تقع في أماكن هامة في المدن الرئيسية، مثال ذلك صالات العرض في صنعاء والتي استغل أحد رجال الأعمال مواقعها الهامة فوضع أمام مالكيها عروضا مغرية دفعتهم للتخلي عنها وبيعها له، ويعمل حالياً على تحويلها إلى مراكز تجارية، ولم يتبق في صنعاء من دور العرض المفتوحة حالياً سوى صالة واحد هي صالة دار السينما الأهلية في شعوب. Nearly fifty cinema hall in the Republic, 25 galleries, mostly closed due to selling some of the looting and some another, and re-nationalizing them to their owners in the southern and eastern provinces, some of whom work on the sale and turned mostly to commercial centers and some decline in performance has led to the accumulation of losses, and thus turned Thalkha owner to be invested for other purposes while others have deliberately sold under the temptation of offers to purchase large amounts because most are in an important place in the main cities, for example, in Sanaa, galleries and one of the men took advantage of their important work he put in front of their respective holders pay them lucrative offers to give them and sold him, and is currently working to turn them into commercial centers, was left in Sanaa of theaters currently open only one room is a cinema hall in the civil people.
وعن مشاكل صالات العرض بصنعاء يقول أحمد كابع صاحب السينما الأهلية:" منذ إنشاء هذه الصالات، وهي تتعرض لصعوبات كثيرة منها الضريبة المرتفعة التي تصل إلى 26 % من إجمالي الدخل فضلا عن تدني الوعي الثقافي والشعبي بأهمية السينما في تنمية المجتمعات واقتصار سمعتها على الجانب المسيء فقط.. مشيراً إلى أن مستقبل السينما في اليمن في خطر خاصة إذا صحت المعلومات التي تقول بأن رجل أعمال اشترى بقية دور العرض بصنعاء.. لافتاً إلى المخاطر التي تحدق بصالة العرض الخاصة به، والتي تعاني كما يقول من صعوبات قد تؤدي إلى إغلاقها، وحينها لا تجد في عاصمة اليمن صالة عرض سينمائي بينما يستعدون لاستضافة صنعاء لمهرجان سينمائي !! Problems and showrooms in Sana'a, Ahmed said the film Kaba Eligibility: "Since the establishment of the lounges, which are subject to several difficulties, including high tax of up to 26% of the total income as well as low awareness of the importance of cultural and popular cinema in the development of communities and the limiting of its reputation on the offending side only .. He pointed out that the future of cinema in Yemen in danger especially if the information is correct, which says that a businessman bought the rest of the theaters .. Yemen, pointing to the dangers that beset the showroom of its own, which he says suffer from difficulties that may lead to the closure, and then do not find in the capital of Yemen showroom film as they prepare to host a film festival to Sanaa!!
وفيما يتعلق ببرنامج السينما الأهلية يقول كابع " إن برنامجنا في استيراد الأفلام توقف عام 2003م نتيجة قلة الدعم وعدم إقبال الجماهير للسينما والفهم الخاطئ لدور العرض ،علما بأنه كان يتم استيراد حوالي 30 فلم سينمائي في السنة بتكلفة تقديرية 60 ألف دولار اغلبها أفلام هندية وعربية وشرقية .. مشيراً إلى أنه يتم حالياً إعادة عرض الأفلام القديمة بموجب عرضين في اليوم في كل عرض يتناول فيلمين. With regard to the program eligibility cinema Kaba says "Our agenda is to import movies stopped in 2003 due to a lack of support and lack of public demand for film and misunderstanding of the role of the show, note that it is not to import about 30 movie a year at an estimated cost of $ 60 thousand, mostly Indian movies, Arab and Middle Eastern. . pointing out that he is currently remodeling the old movies under presentations per day in each presentation deals with two films.
ويقول رئيس مجلس إدارة المؤسسة العامة للسينما والمسرح الدكتور حسين محمد عبد الله :" إن دور العرض السينمائي المتصرف بها من قبل السلطات المحلية بلغت 14 دار عرض سينمائي من إجمالي 25 دار عرض من الدور المملوكة للمؤسسة في المحافظات الجنوبية والشرقية، منها دار سينما المكلا بمحافظة حضرموت علماً بأن هذه الدار بنيت على حساب المؤسسة 100 % بكامل تجهيزاتها ومعداتها وبلغت تكلفة إنشائها نحو مليونين و147 ألف دولار، وتضم أكثر من 2000 مقعد، وتم الاستيلاء عليها وحجزها بغرض الاستثمار وظلت المؤسسة تسدد أقساط القروض البنكية حتى فبراير 1995م، إضافة إلى أن أرضية الدار مملوكة للدولة، ومع كل ذلك فقد تم الاستيلاء عليها وإغلاقها بما في ذلك فرع المؤسسة الذي يشغل جزءاً منها وتسريح عمالها وموظفي الفرع".. The head of the Board of Directors for film and theater, Dr. Mohamed Hussein Abdullah: "The cinemas disposed by the local authorities of 14 movie theaters from a total of 25 galleries of the role-owned institution in the southern and eastern provinces, including a cinema Mukalla governorate Hadramout note that this house was built at the expense of the institution 100% fully equipped, equipment and cost of its establishment about two million, to $ 147 A, with more than 2000 seats, was seized and booked for investment and the establishment has paid premiums to bank loans in February 1995, in addition to that the ground for the house owned by the state, with all that has been seized and closed, including branches of the institution which is part of it and lay off workers and staff of the Branch "..
مبيناً أن جملة الخسائر التي لحقت بالمؤسسة العامة للسينما والمسرح خلال الفترة من 1996م وحتى 2002م، تصل إلى ما يقارب مليار ريال، موزعة بين 165مليون ريال خسائر رأسمالية آلات ومعدات، و111 مليون و300 ألف ريال، خسائر جارية، و760 مليون و400 ألف ريال خسائر رأسمالية (أراضي ومباني)، مع العلم أنه كان بالإمكان أن تستغل هذه الدار وتفعيل نشاطها الثقافي والإنتاجي والاستثماري، وتفعيل حركة الإنتاج السينمائي، وجذب اكبر عدد من المنتجين وعرض أعمالهم السينمائية عليها، وقد تم استكمال كافة إجراءات التأسيس، وقدم مشروع إنشائها في عام 1991، وتمت مناقشته مراراً وتكراراً مع قيادات وزارة الثقافة وتم رفعه إلى مجلس الوزراء. Indicating that the total losses suffered by the public institution of film and theater during the period from 1996 till 2002, amounting to nearly billion riyals, divided between 165 million riyals capital losses on machinery and equipment, and 111 million and 300 thousand riyals, ongoing losses, and 760 million and 400 thousand riyals losses capital (land and buildings), knowing that it was possible to take advantage of this house and to activate cultural and productive activities and investment, and activating the movement of film production, attracting the largest number of producers and showcase their work by the film, has been completed all the procedures of establishment, and submitted a draft inception in 1991, and has been discussed repeatedly with the leadership of the Ministry of Culture has been submitted to the Council of Ministers.
ويضيف حسين محمد عبدالله :" كما تم تقديم مشروع قانون معالجة الأوضاع القانونية لدور العرض السينمائي المؤممة على ضوء الدراسات التي أجريت لكل منشأه وتم تقديم مشروع متكامل لخصخصة المنشآت السينمائية على أن تشارك المؤسسة بنسبة 30 %، والقطاع الخاص والشخصيات الاعتبارية والمؤسسات الحكومية بنسبة 70 %، وقد تم تصميم تلك المشاريع في الخطة الخمسية الأولى، ولكنها لم تلق ما تستحق من الاهتمام، ونتيجة ما لحق بدور العرض من عبث وإهمال أصيبت بالشلل الكلي، ومازلنا نؤمل صدور قرار يحدد إما الإبقاء على المؤسسة ودور العرض أو تصفيتها، ومعالجة أوضاع العمالة العاطلة، وتوفير الشروط اللازمة لتفعيل نشاطها من خلال تجميع الأصول المشتتة بين قطاعات الثقافة والإعلام للخروج بوضع خطة سينمائية في اليمن وانتشالها من وضعها المتردي. He says Hussein Mohammed Abdullah: "The bill was submitted to address the legal status of the role of cinema nationalized in the light of studies conducted for each facility and presented an integrated project for privatization of the cinematic institution to participate by 30%, and the private sector and corporations and government institutions by 70 %, has been the design of such projects in the First Five Year Plan, but has not received adequate attention, and the result of what the role of the right width of the futility and neglect suffered total paralysis, and still we hope a decision determines whether to keep the institution and the role of supply or liquidation, and to address situations unemployed workers, and provide the conditions necessary to activate the activity by collecting assets dispersed among the sectors of culture and the media to develop a plan to get out in Yemen and the film pulled from the developed situation.
The film touches on who wrote the script and dialogue is HUBAISHI Mohammed Abdel Karim Nabil Alahmori and championship belt and Karim Alahmori Semnan, just a constellation of the symbols of the drama of Yemen, over an hour and 45 minutes, "the story of the Yemeni youth awareness of ideas alien to the Yemeni society and corruption of the methods followed by the terrorist groups in the corruption of youth living in poverty and unemployment and recruitment in its ranks and turn them into blocks of hatred surging behind the illusions of Jihad without thinking or realization of the mind.
The latest film, which revolves most photographed views in many places in the Thela and planets, Sana'a, Amran, and most of the governorates of Yemen and the shooting took nearly seven months on the relationship between Yemeni girl called (Shima) working as a translator for a tourist group with one of the tourists (Maria) developed by a victim of fate terrorist operation led by the brother of Yemeni girls and who died in that incident, while tourist survived after losing her father, but in spite of the tragedy, they argue, the moment it leaves the tourist Sanaa airport in the last scenes of the film they would return to Yemen, no matter what happens.
And escalate incidents and plot of the film through the automatic rights of the Yemeni in welcoming the guests and acceptance of others and respect their ideas, while a group of extremists begin to attract unemployed youth to the ranks of the target tour groups get which foreign girl loses her father also visited the Yemeni girls brother of visitors who attended terrorist groups .
The movie presented a realistic picture of terrorism and extremist ideas experienced by Yemeni society and attempt to provide for young people and fooled them and make them aware of the fact that the scenes vivid and realistic, not by the imagination or agents textile technology that is used cinematic tricks,
The film's director, Dr. Fadl fodder for the various media that the film was produced in cooperation with the Ministry of Interior awareness and a clear message about the phenomenon of terrorism and the causes that lead to Tnamea .. He added that the movie took a step forward for the drama of Yemen, as well as the entire staff of the Yemeni representatives and technicians, all the crew .. Yemeni hundred percent, as was not involved with the crew only foreign tourists only "has been translated in English.
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Muslims in most case gathered between industry and art, and realized that correlation between industry and art is stronger
In the Islamic civilization than in the civilizations that preceded Islam. And is responsible for this correlation between industry and art in the Islamic civilization, three factors are:
• the main objective, which went to Islamic art since is to decorate the life .
• Trade Unions of craft men and the injury or arithmetic.
Muslims have received from past civilizations they many industries after it formed on promises in terms of technique between tradition and beautiful decoration, doing both sides of the Islamic goods benefit and beauty at the same time. Hence, the Muslim artist did not know what his hands from the graduating high-rise buildings or make from a small, Textile, sits him in terms of perfection and beauty palace and the hut, and timely
Made of gold, and vessels made of clay, everything has to be
Receive his share of beauty, even if not part of visible decoration
If the manufacturer is the same artist, he has to wear all the things that the price which precious or licenses, decorative beauty in the heart cause of satisfaction and clearly delighted.
If the skill of the artisan in the decoration without skill in the industry, it is entrusted to the artist what he produces better decoration and cosmetics.
Types of decoration:
1-Plantation decoration:
Muslim artist excelled in the use of plant formations, from the leaves and branches of plants, flowers, and fruits, in the decoration of functional products, whether those products or artifacts of architectural art, as the artist's work to adapt the elements used and the demilitarization of the image
Natural, and showed a tendency to take a Muslim artist spaces and the fear of the void, and has increased the use of such ornaments since the nineteenth century and peaked in the twelfth and thirteenth century. If artists and Muslims Awa tradition porcelain decoration and even excelled in this area is unprecedented, but that in the Ottoman period, we return again to the nature of the decoration in ceramic pots, planted with cypress, carnations, jasmine flower and Tulip , colored pots and colors Viola on others, such as olive, and turquoise, and purple, and crimson .
2. Decoration written:
Muslims use the line as an ornamental, it was of Arabic calligraphy as a means of science, then it became a manifestation of the beauty of life and empowering being magic, and is still growing and improving and changing, even exaggerated numerous modifications in the methods of partial and single letters in the vehicle, this kind of decoration, reaching with types of techniques in the luxury of the Abbasid and Seljuk Turks, Mongols and Atabequ Turksitanyen about eighty species or more, and this, of course, not the luxury of a technical
Inform the nation of nations. Kofi enriched with a variety of Islamic architectural monuments and arts, and has had sovereignty until the Abbasid era when he started back line and its derivatives in dusty technical sovereignty, and most important picture Kofi script: a simple script that does not decorated it, and any leafy script carved on the floor of the floral and coffee flowering any letters, who graduated from the branches of the plant flowers, coffee and pleated any who battled with a thousand rallying in the form of the curl.
The types of other lines such as abrogation and the third has excelled calligrapher until it became mixed as in the Mamluki metal forms of plant and animal, and publicly, we can stop at a dusty manual, which is a microcosm of the line back, but in
Indeed, a very precise and small, as evidenced by its name, it is also understood from this name like a small dust Dusty Script, and inconceivable that enough to know that some of calligraphers who have mastered writing, you may have carved the Koran, for the love of rice, and some of them engraved on a chicken egg. The seam-line or write any reflected that reads the package with the reversal, it is the type of
Of the line reveals the skill of the scribe and his genius as he writes the phrase twice so that one can be read from right to left and from left to right, which combines letters to come out of this combination is a beautiful decorative form.
3. Geometric:
Turn Muslim artist since the Umayyad to the use geometric, and be creative in where we have not seen in any of the civilizations, although the basic form stems from the simple forms Kalmainat and squares, triangles and circles, intersecting and coherent party and octagonal shapes.
It was for those of different geometric shapes, an important role in the decoration as Arabic became the basis of the Arab-Islamic decorative motifs. Characterized by geometric Islamic art geometric nature strong, it is evident to us through the use of art as a Muslim to stellar configurations dishes that adorn the roofs of buildings and artifacts of art, where spread configurations decoration dishes asterisk in Egypt and the Levant, especially in the Mamluki era, and in Iraq during the reign of the Seljuk, and extended
Impact to the artistic style in Morocco and Andalusia.
4. Figural decoration (animal):
Were not living end but the means used to work as a decorative and may even inspired the ancient arts of which I made my way legendary. Emerged here as a personal hatred of Islamic arts in the representation of living beings,
This is due to the desire to keep away from the pagan aspects of Islam came to destroy the pagan worship of the persons represented in idols and that this hatred are fading gradually with increasing awareness of the realities of the Islamic faith and cartoons have appeared
Mural on many works of art in various frescos on which he draws attention is the decoration of mosques and the Koran, she remained free of the elements of humans and animals.
Termed art historians of the European convention on the launch of Arabesque Arabesques to a certain type of Arabesque, which are known to the Arabs whether is fraught with floral or written or animal, geometric, this is the word believe in the significance of this type of decoration which the most prominent of which is is the phenomenon of growth, and securitization is only the growth and reproduction. And is still a securitization Tauriquos used in the Spanish language to date to describe this decoration.
And meditation in the decoration reveals that it is more than what the elements of plant, such as the grape vine branches twisted around each nested some harmony and naturally. Have found the form of a grape in the trappings of the Dome of the Rock in Jerusalem and the fair the great Umayyad Mosque in Damascus, glimpsed through alteration of nature with a paper vine grapes, and palm fronds, and the fruit of the pomegranate, pine, and various types of flowers are transformed into abstract forms of overlapping This abstract is intended for the same, without a doubt.
- After the decoration of Islamic Arts Bank:
That the history of decoration in Islamic art reflects the philosophy of Islamic conception of the universe,
The Islamic spirit of tolerance that had absorbed the art of peoples past and re -
Production and create new and add them, also influenced the Western art until it became the root of
The abstract, and inspired Western artists with visions clear, but became a decoration
Muslim is the origin of many of the doctrines of contemporary art, and missed with the origin
After the time and sectarian pluralism.
Simulation was the first episode in episodes vulnerability European ornamented Arabic, then take
European artists slowly discovering new techniques, and write
Decorations in the spirit of renewed, and wore a European character, but has been recovered from their sources Arabic.] Ref: alienation night )
Ceramics:
The art of pottery of the most important crafts used by the rights since the stone ages in his household and the process, as is the pottery of the most famous trades and crafts in primitive societies and traditional.
Pottery, porcelain and the date when the civilization of Mesopotamia and the Nile Valley has been characterized by colors like white, yellow, red, yellow, lime green and turquoise-green and violet to red italics. As well as the porcelain used for various purposes, whether in daily use such as Corning Ware decorations. And they made ceramic and mosaic tiles to cover the buildings from home and abroad. He was known for Iraq, Egypt, Syria, Morocco, the art of ceramics and found a lot of ceramic pieces in museums Arab world.
We also believe glassware and distinguishes the beauty of color, paper, purity and accuracy in decoration and include utensils, cups and vases for everyday use as well as to save the small bottles perfumes and medicines, has excelled Syrian artists producing glassware and gold-plated metal objects, especially in countries of the Arabian Peninsula, which was rich in copper mines, which The raw material for the manufacture of bronze artifacts, as well as exported to the Levant.
The Arabian Peninsula and jewelry industry, jewelry, gold and silver known Mosul in Iraq ., vases, lamps and candlesticks and incense burners and tools of astronomy and other industries, such as weapons, armor and military equipment and helmets. In the Levant manufactured metal objects in the hands of skilled artists such as Corning Ware Alike made of silver and copper as well as utensils made of beaten copper decorated decoration or write, and inlaid with silver. The varied industries we believe metal doors, windows and chandeliers, funds and chairs and Almqalm and Burners and pitchers as well as the beautiful design of furniture, such as Decca like bed made of wood and inlaid with ivory, ebony and by the bowls of copper engraved silver
The Impact o f Education on Culture
Rotundities as a teacher to design lessons and activities well, because there are shapes and attractive works of art can be brought to the chapter, and these things can be used to facilitate the carrying out activities and debate should be conducted in a manner attractive and interesting. All local topics and works of art can be understood by students in the context of cultural and environmental. Varmus in the art is closely linked to moral and religious values in a given society. It is said that people can not maintain their cultural heritage that were not absorbed the history and aware of its contexts.
Considered as masks in the African tradition of things is very important because they play a key role in the lives of the African belief system and the main purpose of the African mask-making is used in special ceremonies or rituals of society. There is a difference between the concepts of masks between Africans and Europeans. The concept that the European mask and a means of summoning the spirits, while Africans see the mask to create a place of life. That is, when a person wears the mask is covered with clothing from head to toe, which means that the masked man has become the right person who is trying to Altinker kind. It has sent back to life through the performance of movements, voice and any activities that became infected, and control the vote; sense upon which the spirit of that person. Thus, African masks people materialist embodied the abstract concept of life among the peoples of African
Ref: http://www.moc.gov.sy/index.php?d=30h&id=9985
Circassia community
What to set foot on the land of Jordan even "took off their shoes and walked barefoot in which", convinced that "holy land", that persuaded some to "wear their shoes on this holy ground." Circulating generations Circassia's this novel since migrated from their homes in the Caucasus by force in the sixties of the nineteenth century, the arrival of Oman in the seventies of the century as a result of their war with Tsarist Russia in order to preserve their Muslim religion they espoused. Most of the Circassia's and settled migrants in Turkey, while the groups have settled in Syria, Jordan and Palestine. The first group of arrivals to Oman is a tribe "Shapsugs", presented via Turkey to Damascus and then from there to Amman, where they settled there. The second group is the major "Alqubrdae", introduced through the sea route from the Balkans to Beirut and Aleppo crossed en route to Oman, and established the first convoy Circassia in the Roman Coliseum. From that time, the Circassia tribes merged into the fabric of national and social Jordan with maintaining the remarkable heritage and values. In this context, the President of the Council of Jordan and the Circassia tribal clans selected Circassia in Jordan, Adnan Hajj _kajoa words, in a meeting with tomorrow, the "desire to reproduce Circassia customs and traditions for succeeding generations, with pride and belonging, as reflected in the interaction with national events and their quest to participate in the service of the country side by side with the rest of the spectrum of the Jordanian people. " Interestingly, the ability of the Circassia to "preserve the customs, traditions and heritage, despite many years of emigration from their country and their integration into Jordanian society", in this _kajoa say that it was due to "Circassian great pride for their heritage and their affiliation to their roots, with their deep conviction that this is something positive so as not to melt and thus lost the features of this group, which brought with it a rich heritage. " The customs and traditions important to the Circassian, according _kajoa, those of "respect for the older as well as deep appreciation for women." In this regard, say, the sons of the daughter, for example, "They take the double amount of love to the children of the son due to their association with love, love their mother" This is in line with the "Islam and Islamic law urged by the ties of kinship." _kajoa And adds another example of "if there was a disagreement or a fight between a group of Circassian, and by chance a woman existed, then spat quickly Vinfd respect." , As "a shame that the fight in front of a woman." He says that the Circassian _kajoa outside the Caucasus a "dual responsibility" towards the "home in which they live and towards the motherland." The Circassian tribal council in Jordan to represent the tribes of Circassians, and includes 20 members of the notables of Circassians. The Circassian Charity Association is limited to its role on the "social activities and philanthropic projects and heritage preservation." For its part, the staff member Patricia Jnecatp found that "the family Circassian strive to maintain the customs and traditions by adhering to the identity and heritage of our language, and playing music Circassian and maintain it throughout the paintings by specialist technical teams, as well as cooking traditional Circassian." With regard to conventional foods known, it is found Jnecatp some dishes such as "bits and Orkitza Alzatej and halva, which is about the different types of pasta dish known to the chips with the sauce and carrying his custom, and it Alcbjee Dagp." And the clothing of traditional Circassian, showing faith in wild fish (25 years), they reflect the "decency and beauty of women, chivalry and strength to the young man." It consists woman clothes, as wild fish, from "a long dress and hat hanging from the top napkin transparent and shingles," and was in the old dress consists of "several pieces of up to ten, and is characterized by silver thread embroidery and gold." The young man his clothes consist of "long-named Czykt Tse and pants and shirt and hat named Tip and a dagger named stature and a long sword named Jath", in addition to the existence of "special areas in the bullet jacket and boots, long." Wild fish and adds, "This is no longer currently used in traditional clothing and worn only on the difference in the Circassia musical concerts and special events." In turn, refers to Jnecatp Circassia dances performed in the well-known occasions, and submitted through the paintings are displayed "in different countries through a professional dance teams princes named Qafa Abkhaz and dance and dance Alcishn." It adds that the Circassia "attach great importance to music, especially those on the Presto accordion." And Circassia customs that have disappeared by 99%, known as "Adakkwasa", which shows that _kajoa this habit, which they call the people of Jordan "a mistake" marriage Katifp, Circassian customs "which were applied the past and have had a ritual reflecting the principles and values of the Circassian community governor." And "Adakkwasa is one of the customs that are followed in the old marriage, where the young girl agreed to marry and go with the young girl aware of her mother and sisters and young people live, where you go along with girls and friends to Hamada, a leader or relevant and this is notable advance knowledge of the command" According to _kajoa. He adds "For the father of the bride Vicu sometimes aware of the subject and at times not be aware of." He adds, "remains relevant and girls when the young man goes and disappears from view when a friend called Cwadqgua, and keep him informed guest and sends the father of the girl assure him that it exists in the conservation and preservation." Different reaction between the father "to approve the marriage and does not agree." If approved by a parent, marriage is notable in the house "in honor of him", and then wed the girl to the groom's house. It is here that the decrees "similar to marriage in terms of the normal festivities, where celebrations are held in the house of the young and the young man to wed his bride. Celebrants moved here and added to and remain the dawn before the sun rises because the young man to his friend's house before to see his relatives." Increases _kajoa "and then go on to receive the bride's protectors in the presence of female relatives. The next day, the groom's wedding is not for the hype in his youth in the presence of relatives and uncles." In case the groom does not have the beta and to avoid the survival of the bride at the home of her husband's family, "was cooperating relatives and neighbors to build a house for the newlyweds," according to _kajoa. And asserts that "Adakkwasa disappeared and is now standing in matters of marriage as is common in the Jordanian customs go relevance to the people of the bride and a wedding, because Adakkwasa no longer fit the evolution. But in the Caucasus are still followed Adakkwasa significantly." It should be noted that mixing between young men and women Circassians "permitted within the control of parents and mutual respect between the parties." It is noteworthy that the Circassians "eager to teach their children the Circassia language," where are taught the basics of reading and writing at the School of Prince Hamzah and kindergarten in Wadi Sir, in addition to courses in the Circassia Charity Association for the strengthening of the Circassian language generation in the club as well. Folk troupes and Circassian play a prominent role in maintaining the Circassian folk arts, the most important task generation and Al-Ahly team and the Task Prince Hamza School junior carrying this through folklore paintings from around the world. (Reference source: Al-Ghad, Jordan)
Seems, implicitly, that putting the problematic relationship between identity and the information society is to offer an ad hoc Arab-Islamic culture, at least for two main reasons: The first is that identity in the Arab and Muslim society has not yet been sufficiently resolved the dilemma of the relationship between tradition and modernity are still on a collision course with history and with the other . The second reason is to penetrate the identity of this community by the forces of globalization at the center of the western economic and geostrategic reasons unknown, made this Pacific consumer market for Western goods and values and crippled the power of creativity and the addendum to the global civilization.
For proof of this, recall the experiences of Japan and China. These are among the pioneers of both societies the digital culture and the information society and actors in the technological progress of the communication revolution. But this development did not affect the identity elements of Japanese or Chinese did not get the separation between memory elements of heritage and personal on the one hand and the requirements of the knowledge society and opening to the information network on the other.
There is therefore a need for knowledge of accountability for the Arab cultural privacy in the information age, because the problem concerns not only the awareness of individuals and their behavior, but also social systems and political choices and the nature of the new cultural project while addressing the issue of cultural specificity and the question of economic development and human resources.
Cultural identity:
It is axiomatic to recall that cultural identity is an object collectively district changed and become first home because of a change references values and, secondly, from the outside influence the evolution of individual and group relationships with global changes.
Internal evolution by the requirements of modernity. And development imposed by the external variables of globalization.
Rights disk does not exist. And the Arab is not a fixed entity and a typical uniform. Kinetic is an entity subject to a test by the present and future aspirations. Which makes it move is linked to fixed values Paljdlip historical heritage values and vision of the future. These values have contact formative cultural identity achieved by the ages and circumstances, notably the balance between material and spiritual dimensions, and the principle of diligence and openness. Identity, then, is a comprehensive and exhaustive references to different and diverse to be an outcome of human experiences through the ages.
As a historical cultural identity, they do not contradict with the principle elements of modernity and the evolution of system of thought, science and technology embodied in the education community and the knowledge society and access to the information society as a new form of human civilization.
If you look in the history of Arab cultural identity, we can see that in periods of culture resisted colonial encroachment and preserve the identity and privacy of the manifestations of alienation, despite the economic and military defeats. Identity has remained a spiritual force of the values of the University of historical existence, despite calls to close the door of ijtihad in the Mamluk and Ottoman times and the spread of metaphysical thought and the rule of tradition and transport and the glorification of the heritage.
The challenges posed by today's information revolution and modern communication techniques are not as serious as the challenges that have defined cultural identity in earlier stages, such as twilight and the Movement of Arab Renaissance. The case does not in my view, the ability to withstand this identity and the preservation of its components, as it relates to standard-setting between the firm and transformed, and the ability of the Arab mind to distinguish between modernity as a requirement of an internal progress and contribute to global civilization, and globalization as a complex reality and the logic of moving global influence and infiltration and elimination of diversity and difference.
Position of the ancestral identity mix between modernity and globalization and rejected together, leads us to the historic areas of violence and stagnation under the slogan of self-protection and anti-rejection and other techniques and Sciences and achievements. The position Alastgrabi (from the concept of "Occidentalism" is derived from the absolute loyalty to the West as the sole source of civilization), leading to the destruction of identity on behalf of modernity and the emergence of protectionist reflexes extreme clash of civilizations and calling for a holy war.
Between these two positions Almottagazpin of identity in the information age and globalization, there is a third way, through the modern civil linking dialectically between identity and knowledge, and freedom within the system of democracy, which establishes self to the idea of openness, tolerance and recognition of difference and diversity, within the educational system aims to build modernist citizenship, civil participation in the institutions of society and is responsible primarily on the development of knowledge.
Hoepa of the Yemeni society and the Arab Asralamalomat
The Arab-Islamic culture, as a vessel of the Whole of identity that we are talking about, did not participate either in the foundation or in the preaching technological ideological revolution in information and communication and media.
But this revolution which has become a one manifestation of globalization, but an essential tool of tools, is the product of a revolution of the human mind, which is an essential feature of modernity at the same time affect the individual's behavior and ways of dealing with relationships and the nature of relations between groups and nations.
Despite what some say about the dangers of the fragmentation of knowledge and the threat of social relations, traditional and spiritual values and heritage, and so the negative aspects of waves by the advocates of identity reassuring to maintain safe conditions, this new culture requires a new identity capable of reconciliation between the intellectual content of the heritage and the possibility of compatibility with the mentality of the Internet and the abundance of information and abundance, and quick access. This new means of acquiring knowledge is a historic opportunity for the Arab cultural identity, if there are several conditions that the most important of the eradication of illiteracy and bridging the digital content production and dissemination of knowledge and culture of dialogue and openness and to build civil society institutions.
This means that the information society is inextricably linked to the principles of knowledge and freedom. We can not imagine a society of information outside of the system of democracy that guarantees the rights of citizenship. This requires the identity of believe in democracy and saturated from its principles. Because freedom and dialogue, and differences are the values can not be separated from the information society.
We can not imagine a society of information outside of infrastructure to ensure the freedom of members of the initiative and access to information. This infrastructure requires first education and research system developed and connected to the global information and, secondly, a digital culture contribute to its civil society organizations, private institutions and the public. The strategic direction of the information society is essentially in the formation of the culture of the individual and the organization of public space on the notions of freedom and knowledge. This cultural revolution in behavior and the concepts required to overcome traditional identity a new identity capable of achieving harmony between the constants and the mentality of the traditional Internet. Constants are part of the present. And the present time is the only one who can afford to live in it.
And identity, to the challenges of the Information Society, is part of a comprehensive modernization project for the Arab culture, not in the sense of intellectual, but also within civil institutional knowledge, which includes values education, behavior and political organization and public space.
This update, which has different Arab countries in the planned and achieved by its understanding of the identity and dealing with globalization, can not be achieved the position of defense of globalization. Therefore do not agree with what goes to when he says Hassan Hanafi »globalization is only an expression of a deep awareness of the central United States based on ethnic, racial, and the desire to dominate and control, and after the national liberation West wants to produce new forms of domination through the creation of concepts and her husband outside its borders, such as globalization, the end of history, the clash of civilizations, the communications revolution, the world is one village, cosmic, and producing these concepts are intended to control of the Western Center on the parties.
This may be to speak, historically, the face of health in the context of a relationship often Bamolob, but stand in this position do not apply contemporary Arab culture with modernity. IT is the face of a prominent and influential role in global modernity is the hallmark of the last two decades in the world, belongs to all mankind and the product of the multiplication of intellectual production in all areas. The greatest challenge to our cultural identity today is positioning the actor in the process of sorting out who generates the information and has the ability to use and among those is just a consumer.
The digital revolution is not about today's question in connection with Western thought Informatics Society, but to find ways to engage studied in this revolution that changed the topography of the world and made him a global village threatens cultures either melt or confinement, if not their place in the knowledge economy and the revolution in digital production is known today that 12 % of the world's population controls more than 90% of the volume of world trade (America, Japan, Europe), Japan alone controls 44% of world exports, this fact is a translation of the information revolution, communication and knowledge explosion which threatens the reality of cultural profiling.
Traditional identity is unable to face this reality, and the traditional State is unable to withstand globalization.
When we look at the mystery of excellence achieved by the industrialized countries, we find that the most important component in the development equation is the human being who knows.
Equation is the day between power and knowledge. Arif community is a community strong. Is no longer the number of population and the abundance of resources and armies of little help in identifying sources of real power. Creative minds and control over the information and communication technologies are affecting today in the direction of politics, economy and decision-making positions and influence.
So we identify the dialectical relationship between identity and the information society. Relationship is a profound impact may be positive or negative, depending on the ability to integrate the culture of identity in the movement of history on the one hand, and the ability of the political mind carried the responsibility of government to develop options in the system of modernist thought and behavior and institutions.
The internationalization of the synchronization means of communication with the contradictory tendencies in the UN system of thought, the tendency for advocates diversity and culture of creative differences and dialogue among civilizations and the end of the rationality of universality, enshrined in a single polarizing tendency of capitalist globalization and passed through a culture of single-minded unity and forced under the banner of Western democracy.
We, as Arabs, we identify the University of varying degrees in the adaptation of this identity with the developments of the times, stand between these two tendencies did not resolve after the historic strategy for dealing with the logic of these transformations.
The elitist nature of the information and communication technology is rapidly becoming a public nature, that tends to Bmahmolat traditional components of the identity and contents of value are not necessarily equipped to deal with the cultural vision of the cash required, making these segments broad community just a consumer market of the contents do not contribute to production and management. This is the alert from the risks of globalization on the elements of identity information came from Western thinkers themselves to reduce the excessive optimism that prevailed in the north and south.
1- DR. Nabila Ibrahim Salem, forms of expression in popular literature, Egypt, Cairo 1974, p. 8.
2 - DR. Mohammed essential, features and popular biographies, magazine world of thought, Kuwait, Journal 17 No. 1 April, May, June 1983, p. 14-15.
3 - Abdullah Bardouni Art, literature, popular in Yemen, Dar al-modernism, 2 nd 1988, p. 9.
4 - same, p. 59, 61.
5 - DR. Talal war, a preliminary text, looks at the criticism and the story and myth and popular literature, the organization of university studies, publishing and distribution of Beirut in 1999, p. 128.
6- DR. Talal war,- p. 130
7 -Tourists, Firas (1981) "adventure mind first - a study in myth - Syria and Mesopotamia" Sumer studies, publishing and distribution, Nicosia - Cyprus, the sixth edition, p. 22.
8 - Abdul Wali, Abdul Fattah, "about the story and the story in the Heritage - the story of preaching model" study, the magazine "Culture", Ministry of Culture and Tourism - Sanaa, the fourth year, the number (27), November 1996, p. 64.
9 - See: Abdel-Hakim, Shawki (1978) "Folklore and legends of Arabia," Dar Ibn Khaldun - Beirut, first edition.
10 - See: Algoli, Hassan Ahmed said "the concept of folklore and its importance", Journal of a "culture of the child" Supreme Council of Culture - National Center for Children's Culture, Egypt, vol 16, 1996, p. 23, 24.
11 - Abdul Wali, Abdul Fattah, "about the story and the story in the Heritage - the story of preaching model" study, the magazine "Culture", Ministry of Culture and Tourism - Sanaa, the fourth year, the number (27), November 1996, p. 61 - 62
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