Princess Kate makes second appearance in two days since announcing she had cancer

Despite the beginnings of theater in Mauritania, this artistic experience still faces challenges that hinder its success and complain about weak support from the government and the lack of theaters and exhibition spaces.

This Maghreb country was famous for theater two years before its independence in 1960, when the group “Kikota” appeared led by Hammam Afal, known as the founder of the “Father of the Arts” in his country.

The historical sources that dealt with this artistic experience make it clear that “Kaykouta” may not have been theater in the sense that it is known today as an expressive style based on dialogue, movement, music, and decoration. instead, there were only evening parties where some public figures were reported or some of the events witnessed by the country were imagined.

Despite the simplicity of the Kikota celebrations in that period, the same sources confirm that Mokhtar Ould Daddah, the first president of Mauritania after independence, regularly attended the those nights and enjoying them despite the bitterness of his humanity and his intellectuals.

The Mauritanian Ministry of Culture explains in an article on theater called “Mauritanian Theater: Gloomy Conditions and Spectators’ Sickness of Watching,” that this level of art was “lacking” at the that level of “many situations of theater art,” before adding, “But it (the experience) paved the way for the later birth of amateur theater schools.” And a generation of pioneers, such as Mohamed Ould Memine, and the writer Mohamed Vall Ould Abdel Rahman.”

This artistic experience saw no development in the years between 1960 and 1970. Instead, it turned into “on-demand” theater that was shown on holidays and public events.

At the beginning of the 1980s, this art saw a qualitative leap with the emergence of a new generation of pioneers, such as Mohamed El Amin Ould Adahi, Ahmed Ould Mohamed El Amin, and Abdel Rahman Ahmed Salem. This generation undertook the development of this young knowledge to maintain to the success that the neighbors and countries of the Levant had gathered.

During that phase, “Abu al-Funun” saw a remarkable development compared to what he started, especially at the level of writing, music, and performance Then he saw another qualitative movement with the emergence of several theater groups, such as Al-. Murabitun, Al-Asabaa, and Chinguetti, as well as the establishment of a union that included enthusiasts of this art in the country.

However, these artists did not receive any government support, and it was difficult for them to convince their relatives about the value of paying a ticket to see their art exhibitions.

Despite the weakness of the theater, there are wonderful young men who embody the characters in an excellent way “Ali Deeda” is a creative Mauritanian playwright Layla gave a good performance in his play ” Casting”. #Mauritania pic.twitter.com/yf1TukvTCF

– Muhammadi Musa Dahah (@mohamdimds) October 15, 2019

In this regard, the Mauritanian playwright Baba Ould Minni says in his book “Theatre in Mauritania”, unlike many theater experiences in the Arab world, “the Mauritanian theater experience was the result of a religion founded by theater men , both non-professionals and professionals. , who believed in the place of theater and spread Sheba’s hands so that theater had a place.” In building the nation and reinforcing the values ​​of nobility, honesty and integrity.”

He continued, “Most theatrical experiments in the Arab world received some kind of interest and care from those who were responsible for them, while the Mauritanian theater was a legitimate descendant of men and societies that were, with their productions that fell, celebrating the spring of the Mauritanian theater. and his most beautiful seasons.”

Theater activity in the country increased in the 1990s and the beginning of the third millennium, as new groups appeared and young actors appeared, some of them following training in theater outside the country.

Along with this cultural dynamism was the establishment of the Communication Association, which some believe in putting Mauritanian theater on the path to professionalism, not only with its plays but also by overseeing the creation of a generation of talented young people.

Unlike poetry and prose, Mauritanians have not accepted theater writing, because the fans of this art agree on the lack of writers who specialize in this art, and they also agree on the lack experts in the art of directing it.

In 2011, “Abu Al-Funun” saw another qualitative movement in Mauritania with the launch of the National Theater Festival, which was also an important opportunity to support and encourage creative people of broad masses.

Over the years, Mauritanians accepted this art, but on the other hand, it was still an “isolated” art whose professionals suffered from a lack of exhibition spaces and weak government support.

In this context, Bab Mini said in an interview with the local channel Sahara 24, “Unfortunately, Mauritania has not paid attention to theater (…) These successive generations work without official support, so that an actor prefers mint sales. to professional theater because he knows that Theater will not bring him a living.”

He said, “I want the Institute of Fine Arts to be implemented and I hope to implement the President’s Art Award. compete with them outside the country.”

Source: Al Hurra