A retrospective story to rebuild the self.. The Moroccan Popular Childhood Movement honors its founder with a creative writing

Among the most prominent writers participating in the book “The Child I Was”; Ahmed Al-Madini, Ahmed Bozfor, Idris Al-Malyani, Hassan Ighlan, Hassan Bahrawi, Hassan Narais, Hasna Abu Zaid, Salah Bousrif, Salah Al-Wadi’, Aisha Al-Alawi, Abdel-Samad Al-Kabbas and others.

“The Child I Was” is a new literary and creative work that sees the light, in which it evokes the time of childhood and pays tribute to the “popular childhood movement” in Morocco, which it issued in honor of its founder, Tibi Benomar, on the seventh anniversary of his death.

Many stories from close but diverse generations meet in the book, where we find in their heart the nature of pluralism and richness without forgetting the common ones that these people lived in their childhood and the different angles of capturing stations from this childhood, as 42 writers and writers from various fields of knowledge, thinkers and creators contributed to its narration. They are active in the legal and educational fields, and they retrieved in their texts some of the facts of their childhood and the events stored in memory, and the social transformations they picked up.

If the future of peoples is their upbringing, then educational work with children and young people is pure air, as the Moroccan Atlas forests permeate.

back to childhood

Politician and former minister Fathallah Walalou – who presented the book – praised the idea of ​​the popular childhood movement, which asked some writers, journalists and artists to go back to their childhood to read it and write down what they remember about it.

Childhood – according to Oualalou – is not only the prelude to human life, but rather the period that constitutes the basis for the personality. It is what leaves the greatest impact in his memory and in his relationship with the family and sociological environment, and also constitutes the vital part of the human path that remains firmly in the memory.

All this is evidenced by reading the memoirs of famous personalities who devoted several pages to their childhood, such as the dean of Arabic literature, Taha Hussein, and his reference book “Al-Ayyam”, and others such as the Moroccan writer Abdel Majid Benjelloun, the author of the autobiography “In Childhood”.

The first goals that were outlined for the movement were to take care of the trinity of childhood, education and the future, to contribute to the development of the people and raise their level by developing the spirit of solidarity, creativity, teamwork and voluntary work. Or a tactic for it. Therefore, popular childhood has remained, for nearly 60 years, an independent movement in its practices and decisions, in its initiatives and programmes, in its organizations and in its entitlements.

Creative writing about childhood

“We all recall with much nostalgia, and a little regret, that child inside.. How many times have you found yourself searching for that distant voice, reassuring to itself and to the world around it, and life has surrounded you with its cruelty, absurdity, and heavy air. That voice emanating from The light of childhood whispers to you: Come, the clouds are still laughing here, the bread is still fresh in the breasts of mothers, and the sun is still rising from the east.

This is how writers cross and melt, recalling their childhood, writers from all walks of life and its orientations, in a book that restores the voice of the child repeating the first anthem in life, luring the child, who is like each of us, from the foot of the imagination to lead him to the serenity of the first laughs, the vast joy and the dewy memories.

Among the most prominent writers participating in the book “The Child I Was”; Ahmed Al-Madini, Ahmed Bozfor, Idris Al-Malyani, Hassan Ighlan, Hassan Bahrawi, Hassan Narais, Hasna Abu Zaid, Salah Bousrif, Salah Al-Wadi’, Aisha Al-Alawi, Abdel-Samad Al-Kabbas and others.

In his meeting with Al Jazeera Net, journalist and writer Abdelaziz Kokas believes that creative writing about childhood and trying to return to memory of that child we used to be, is not just a nostalgia or nostalgia for its “bright” or “innocent” past, or a deep past, but rather a retrospective story Through it we reconstruct ourselves, from the angle of light that we were once in no way back, and as Franz Kafka said, “We grow wiser by remembering ourselves in the past, and by remembering all that we have gone through and faced with courage.”

Journalist and writer Abdelaziz Koukas considers writing about childhood part of the literary genre of biography (Moroccan press)

The writer Kokas adds, that in the process of writing about childhood, there are two dimensions, “the first is the historical childhood as it happened with its sad or joyful, happy or miserable facts. It is part of the distant past, especially when we age, and the distance between us and our childhood is far … the experience of living raw self as it actually happened.”

The second dimension, according to Kokas, is “the childhood restored through memory and which undergoes a process of reconstruction, in which the real, the artistic, and the intellectual/philosophical overlap, and our legal status and position today are subject to the influence of the cultural and social context.”

Writing about childhood is part of the genre of autobiography, this is what the writer Kokas says, considering that “it is governed by the components of this literary genre and its conditions open to a broad horizon, and it is considered the beginning in drawing a profile about our person and sharing our life experience with supposed others. Is it a clear mirror? Are all the facts that we lived on, or is it an artistic painting that we create and choose the appropriate colors and re-furnish the space and characters through stories told to us by others about our childhood or about facts from them, where there are many visions and angles of view?”

This enriches what we offer about our childhood, according to Kokas, and the readers, in turn, are fueled by a great curiosity to know what happened to us, and how we lived our childhood, and they want to link between what happened to us in the distant past during our childhood and what we are, especially whenever the recap of his childhood biography becomes famous. In the community.

Another dimension in this narrative recollection of childhood, according to Kokas, is the ambition that today’s childhood will be better and better than our childhood, and that we offer a better world for our children by overcoming all forms of deprivation, poverty, misery, suffering and injustice, which we may have lived through in the past, for a happier and more happy childhood. Rights are what make them transcend the faults of our lives in light of a society in which all the elements of underdevelopment struggle. Talking here about childhood has an educational dimension that goes beyond transferring a lived experience to raising the standard of living of our children’s childhood today and tomorrow.

Glimpses of a child’s life

And about the new version of the Childhood Movement, writer Mohamed Belmo said – in an interview with Al Jazeera Net – that “the child I was…a magical sentence that quickly ignited the fire of recall in the layers of my sunken memory as soon as I read it in the invitation through which the Executive Office of the Popular Childhood Movement honored me for Participation in the book that it intends to publish in honor of one of its great leaders and late president, Tibi Benomar.

The writer Belmo adds that all the memories of childhood and early youth “turn in our hearts into a beautiful nostalgia and a lost paradise as we age, despite the suffering, events and sad facts it included, as well as the fun, interesting and useful moments.”

Written by Mohamed BelmoWriter Mohamed Belmo (Moroccan press)

Belmo considers that childhood’s interest today in culture, knowledge and reading is a difficult problem represented in the attraction of this childhood to the magic of the image and its endless flow through smart phones, as “Our children often do not leave these phones except in a few times during school time mostly, which is frightening.” The fact that they are more attracted to the magic of still and moving images that flow without interruption, despite the huge and unlimited possibilities that these phones provide for reading and the source of knowledge and ideas. This raises great fear among families about the future of this childhood that leaves the image and refuses to read.”

This matter – according to Belmo – requires these families to accompany their children and direct them more towards reading by inventing more tempting ways that are capable of attracting them to reading and writing, especially since educational institutions present the book to them in a classic and repulsive manner and is mainly linked to the dry, unattractive school curriculum.

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