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 Re: نـداء مـن الفنانة تهـانى الباشا !!!! (Re: Abuelgassim Gor)
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www.sustech.edu/files/workshop/2009070512084711.pdf
Developmental Drama / Theater
In Peace Training
** State of Western Kordofan /Alfola /Abyie / Alnhod
** State of Southern Darfur / Aldeain /Nyala
**State of Southern Kordofan / Kadogli
**State of Southern Kordofan / Kadogli (Conferans)
** State of Southern Kordofan/Aldalang
** State of Upper Nile /Rank / Malakal
** State of Baher Algabl / Juba
** State of Baher Algazal / waw
** Blue Nail State Aldamazen / Baw
Dr. Abuelgassim Gor
Atif Adam Ageep
Gamal Suliman
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Introduction on Developmental Theatre
Problems are inherited but solutions can be generated. The developmental theatre is a
solution invented through the utilization of cultural models and the various creative races
among the groups of human race in an endeavor to activate the element of human
development in order to convey some developmental significances such as building,
education, health, environmental protection and the pervasion of the abridged peace culture
within the culture elements of those nations. The dramatic ‘process which we call the
expression of the developmental drama theatre requires a high intellectual flair and a rich
creative imagination besides a through knowledge of the ideas and the morals of people and
the various human groups targeted by the development programme. All this must be
associated with a burgeoning dramatic talent because the drama theatre deals with the cultural
components, the artistic and creative shapes possessed by the different people and the various
tribal groups.
Dr. Mumrna, Qpio, professor of drama at the University of Nairobi in Kenya, defines the
developmental theatre as follows: -
Drama or developmental theatre is usually an utilization of the folklore shapes, tinged with a
wide imagination, and considerable caution because the programme of the developmental
theatre aims at the dissemination of cultural awareness and a change of the targeted groups for
the sake of development and human growth. The developmental theatre is a fertile sphere,
which is prosperous in all parts of the world and particularly in African countries, in addition to
the academic controversy raised by the current of the developmental theatre among the African
dramatists and those who hold the view that the role of the African drama differs from the
European dramatic trend. The African author could not plunge into the depth of history unless
he is cognizant of his present role. To attain this, the African dramatist must be an artist in the
first place and not a propagandist, a philosopher and not a parody maker, this would
undoubtedly place those engaged in the field of developmental drama in a position of practical
experience and thorough scientific and professional knowledge, and an awareness of the
utilization of these creative races without alienating them so it would not shade off its social
effect nor lose its constructive values. The developmental theatre of such comprehensive
significance is popularly known for all African nations where its elements are existent in the
cultures of the tribal groups, the different human communities rampant in all parts of the
African continent. Among the popular, understandable and practical definitions for the
developmental theatre is “Theatre for — TFD. It is a trend similar popular theatre. Theatre for
development exists wherever a number of theatrical actors are
available who are able to work with diversified groups in the field of development or to work
with various organizations that are engaged in this vital sphere, to assist in the creation of a
type of theatre with vital human messages in various walks of life such as nutrition, illiteracy,
environmental health, agriculture and residential areas.
This sort of theatre varies from drama, songs and dancing. Usually, the songs are simple,
bearing tunes of clear messages in a specific area. The working staff at the developmental
theatre shall be in the form of groups, organizations or animators. The developmental theatre
could be considered another model of the popular theatre, which prevails in the educational
philosophy of Paulo Freire and his perception of the developmental process, which he had
designed to deal with the Brazilian public, to which he clarified that “the education we long
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for aims to enable people to discuss their problems in essence and allows them director
accession into these implications. It warns man against the risk of history and infuses him
with self-confidence to confront these risks instead of submission. Freire’s trend of
educational drama is well known and reclines on one of the most important educational
curricula which spring from imagination and the utilization of culture in the educational
process as an educational strategy depending on learning and change and the reduction of
vital significances, developmental issues within the element of the relevant culture.
The developmental theatre— The Experience of the Sudan
This model of theatre - the developmental theatre continued to prevail in the Sudan
from distant times, practiced by human Sudanese groups as a social and economic activities,
different modes, and various styles. The people practices and the various cultural shapes
contained within their layers traditional trends and techniques for some of the sensitive
human cases such as the values of peace and conflict settlements. El Nafeer, or communal
work, where villagers assemble to carry out a large task, is considered an exemplar
developmental theatre prevalent in all parts of the Sudan, because of the values, virtues and
morals it signifies and which pour into solidarity, cooperation, sympathy, magnanimity and
cohesion of the community. All these values are estuaries flowing into the confluence of
human development and peace culture.
The developmental theatre, in this form and cultural gist, is a considered a genuine activity
both in culture and the Sudanese civilization which emanates from extended family
obligations, which is based on cohesion,
sympathy, self-denial, generosity, relieve of the destitute, patience and tolerance, all these are
the elements of the culture of peace, based on the unanimous agreement of the specialists and
UN agencies.
It is possible to say that the scientific current of the developmental theatre, which is the focus
of our present concern, is a new theatrical current. The experience of the Sudan Centre for
Theatre research* in the field of collaboration with the Kenyan theatrical groups such as
(Amani People Theatre) 1998 and the (Kenyan Drama Education Association —KDEA) 1997
are the preliminary beginnings of this attempt.
No doubt there are other reasons that could be considered as an incentive and a cause for the
emergence ~of the developmental theatre at the inception of the Third Millennium. These
reasons are: -
1. The increasing awareness among the drama and theatrical groups and their strong
feeling to activate the experimental margin and to open into the cultural Sudanese
atmosphere.
2. The continuous fidgeting and resentment among the theatre actors resulting from
the hurdles, which the Public Theatre Corporation in Sudan imposes; and its
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persistence to devote the culture of the centre without accommodating the themes
and theatrical marginal experiences
3. The considerable effect with the contemporaneous issues and problems such as
poverty, war, peace, environmental problems, child health, gender problems and
development in various sorts.
4. Awareness and participation in international conferences held by the world
theatrical movement and debouching from the Arab World atmosphere to the
African and European space, increasing feeling of the world and problems
engendered by globalization and an inclination to break the shackles of locality and
streaking into an international space which benefits from performance studies as a
trend, a threshold and a new entry into a changing world.
Module:
The module of the developmental theatre is experimental in a dramatic critical sense.
The developmental theatre would not originate except on the necessity for human
development in its types. Definitions alone are inadequate to make an imagined experience a
practical and a virtual one. Therefore the field in which the competent module is
experimented represents a big and a basic role to make the experience real and practical. This
would lead us to look for ‘the style and the method followed by those engaged in the
developmental theatre.
I would therefore adopt this design as a module for the developmental theatre. It is the
module, which I assume may be traced to drive home the significance of the peace culture
and grassroots peace building as developmental problems for the targeted groups programs.
The significance and the module of the developmental theatre, which prevailed in the African
continent sprout from two basic theatrical understandings, which characterized the
dramatic/theatrical phenomenon in its promotion throughout history. These are:
1. To depend on the common theatrical techniques to convey the relevant
messages and targeted significances. Theatre in its traditional Western form
depends on the utilization of the stage in the playhouse to convey a particular
message to the recipient in the theatre hall. This is the theatrical process, which
dominated the world as a cultural communication media. Theatre in this shape, is
a Western art, an
European with its roots struck deep into the ancient Greek civilization. The
ancient Greek theatre, tinged with an Aristotle1 philosophic flavor is cosmic of
the classical and intellectual fundamentals of this art. The experience of the
developmental theatre is not based on Aristotle 23’intellectual fundamentals. The
audience is the participating actor and participation means avoidance of the
dramatic shape of debates.
2. Deep knowledge of the mechanisms of culture of the human groups
Targeted by the program of human development and ability to analyze those
cultures and delineating them to their preliminary elements, because the
developmental theatre utilizes these elements sociologically and
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anthropologically to unravel the genuine elements for the social transformations,
which depend on cultural and social significances.
Who composed the first theory for drama in his book- From the
Look at Gor. Abulgasim (drama for peace culture) a research project for a PhD degree.
Unpublished by the University of Khartoum, Arts - philosophy 2000.
We conclude that there are five basic elements intended by the drama*4 animator when
he embarks on his developmental project. These elements are:
1. The language: what is the appropriate language to be used in the field?
2. Environment: What is the environment, which is suitable for this topic, i.e.
what is the ideal place to display the subject and the project?
3. Participants: Who does and what must be done? This is focal point for the
project coordinator.
4. Culture: What is meant is latent culture, which may not be apparent in
dealing hurriedly and incautiously with the community. It is possible here to
include the adoptability of the local artistic shapes.
5. Time: What is the appropriate time for working with the targeted
community to implement the project?
N.B. The drama animator, while doing his detailed work, must bear in mind that the
social transformation is a painful and complicated process, a slow exercise. If the
animator discovers that he has insufficient time, he better waits until he has ample
time to perform this task, which must be not less than six months in the field.
The drama animator must enjoy certain properties such as acquiring the friendship and
confidence of the developmental program targeted group and must ensure the
cooperation of the individuals of the community with him to provide crucial
information. On the other hand, what we call the latent meaning for the cultural
expression is a group of deep values, which are the very values, which the drama
animator adopts and activates and turns effective. It is a process, which requires time
and would not accept hurried action. The task of the drama animator or the drama
communicator is a creative and interwoven which starts from within the community
since the communicator may occasional
play the role of the guide. He is similar to the caravan guide, who decides whether the
journey ends or continues. It is a popular belief to lead a community one must acquire the
confidence of that community. To acquire the confidence of a community one needs
sufficient time. The theatre communicator who seeks to disseminate a specific developmental
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message within a specified community such as the peace culture or family planning, or
pharoic circumcision, or refusing to fight an enemy which lives with him in the same land etc
it becomes imperative upon the theatre communicator if he knows that his topic is subject to
argument or violently turned down or considered a snare (false promise), the communicator
must be precise, intelligent, able to analyze a situation in order that the message would not
turn to the opposite. He must be able to bear the structural analysis of his thesis according to
the cultural fruition of those groups.
All this indicates that the module of the developmental theatre is an inter-communication
module, conveyed to people through their own dialect and local culture. Nations speak their
languages and express their private, human and sensitive problems related to their systems
and their local reflections. They could be approached and talked to by people whom they
know. The message must be designed in a non-alien frame, avoiding surprise and aloofness.
It must be contained in an easy, smooth-flowing and friendly mould.
If you’re an outsider, you have to learn and use some vocabulary with which the people are
familiar, such as greetings, thanks and the use of some proverbs in the course of your
conversation. Such a course of action brings you closer to them. He, who works among the
Messeriyah community, must understand that he deals with a traditional and tribal and
nomadic community in the greater bulk of its composition. Individuals usually use idiomatic
language. It is a cautious and serious community, which enjoys an upper strong structure.
They are not a joking people while native administration represents a strong authority. The
model of heroism in that community is a strong, integrated, generous, brave, truthful and
unselfish character. Despite the fact that the Messeriyah community is rich in its creativeness,
tinged with dramatic phenomenon, there is no existence for an artist in the modern cultural
and urban context. El Hadai, the tribal poet, inflarnes their enthusiasm and ardor with his
poetry, but they despise his social status and look down on him as someone who does not
earn his living through toil and sweat as a man should. He is a carrion bird, which preys on
carcasses hunted by others. He is not usually accepted in marriage, except among his close
relatives, because he is sharp-tongued, unproductive, relatively soft, and delicate-skinned as
he avoids manual labor and roams over festivities for pay and free meals. He would not be
denied the privilege of a fine meal, lest he would lick his host with jarring remarks, while he
himself does not offer the usual tribal generosity for guests or passers by. He is always a
recipient. No doubt he receives latent contempt, except on very rare occasions.
A woman always represents a pivotal point in virtues, social and political achievements
(tribal leadership). A Messeriyah man would never fail a request from a woman what it many
cost him. A woman represents a considerable social authority. Gaining the confidence of
women is a basic and crucial task for a Messeriyah tribal man. The female poet, unlike the
male poet is held in high esteem. She is called (El Hakamna — poetess). Contrary to the
Hadai, El Hakama admires and sings man qualities such as bravery (to protect land and
wealth), chivalry, gentleness or refined behavior, generosity and venturous spirit. She would
not flatter and would not praise flatteringly. She does not expect any reward of whatever sort.
No wonder she derives respect of the tribal men.
The developmental theatre discusses by virtue of its nature several issues, some of which are
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interwoven, some would not accept open discussions for their private nature, such as family
planning, Pharoic circumcision, therefore, a pioneer in this field must be well aware of all the
mechanical parts of his subject and has a thorough knowledge of the root hairs of the project.
For example, the rural and nomadic communities rotate on the hinges of the tribal relations
deeper than the urban communities do. It is also extremely important that the drama animator
must be well acquainted with the beliefs, proverbs, and rituals of such communities. Persons
that can be made and talented from within such a community carry in their layers and social
structures these important relations, hence those engaged in the field of the developmental
theatre offer considerable concern to these minute details, because they are considerably
useful to effect the aspired transformation. He who works among a Nuba Mountaineer tribe,
which beliefs in the Kujur and wishes to convey a message which implies that personal
cleanliness is part of the faith, his message would be more effective and compatible if he
could use the Kujur to drive the message home, instead of asking the people to abandon their
Kujur. Hence,, we could change our approach and communication with such a human group,
so that the dialogue, instead of a lecture and communal participation to substitute the
individual theatrical performance before an audience. It is essential to reduce the elements of
the theatrical process and accelerate the elements of the cultural and people dramatic
participation.
Module of Developmental Drama for Peace culture
Let us assume that we would like to disseminate a message on peace culture or child health,
we may trace the following steps: -
Before going to the field a thirty-minute rehearsal must be performed for a short play for
enjoyment and laughter, in order to attract the people to attend and watch through sheer
curiosity.
The place:
A market place, a public hall or an auditorium, in the open air in a public place, on a public
holiday or a national festival day. Use could be made of the village notables or other local
people to clarify the gist of the play i.e. breast-feeding. People could be invited to participate
in the work.
The first week:
Staging a mass play from one’s memory on health~ where the villagers participate. This
villager participation is beneficial as it creates a feeling of popularity on what has been done,
the creation of intimacy and information relations. A relation of some sort must be generated
among the participants for confidence building.
The second week:
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Having built confidence and adequate friendship with the individuals of the group, the play
may start, in a reshaped way, with the participation of the local people. On the strength of the
scenario, of these people can be made intellectual leaders or decision makers, simultaneously
allowing them to decipher and convey the message.
The third week
Obtaining prior permission from the local authorities, it is possible to mount a
demonstration on a greater scale but the nature of thrilling and enjoyment in
the message must be maintained. Avoid making discussions and questioning ameasure to
check people understanding as an objective during the performance. It could be practiced at
the end in the course of evaluation after every show.
Comments:
There is always time to develop Iii is trend, and the assimilation of new ideas on the
realities of the location. Special consideration must be made for unexpected events and
incidents. This is the style of the Sigoti Theatre Group and the Kenyan Association for
Drama and Education (KDEA), which contains many of the theatrical elements and a
propensity to promote the process into a theatrical process, which is a module, which
could be modified in the hope of reducing its theatrical elements to suit the war affected
communities such as the Messeriya community.
A Model of the developmental theatre for tile training of basic schoolteacher
on peace culture
The following model could be delineated for the training of the basic schoolteachers on
peace culture. This model depends on the developmental theatre in its capacity as an
educational drama. It is a trend under experiment.
The objectives of the program:
This program undertaken by the Sudan. University of Science and
Technology aims at:
The grassroots peace group undertook their first visits from 29 November to 30th December 2000 to Abeyie area in the
State of Western Kordofan. The visit culminated with a research entitles (Drama as means of cultural intervention
for the sake of the grassroots peace). The group consists of
The following students:
Atif Adam Ageep
Gamal Sulieman
Eiman Hussein
Hanan Abdel Rahtuan
Hamduk Ahamed Adam
Dodi Gama Agpar
Eiman Hasap Aleasol
Yassir Kuku
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1. Training 16 basic schoolteachers in the State of Western Kordofan.
2. Training 16 basic schoolteachers in the State of Southern Kordofan
3. Training 16 basic schoolteachers in the State of Southern Darfur
4. Training 16 basic schoolteachers in Upper Nile State
There are a number of measures that have already been taken to implement this programmer,
most important of which are the trainers, where the theatrical grassroots peace groups have
been selected for the implementation of this programmer.
1. The theatrical grassroots peace group:
The above group has been formed at the College of Music and Drama at the Sudan University
of Science and Technology to work in cooperation with the University Peace Culture Project.
The group represents the main arm of the project within the framework of Drama for Peace.
Credit goes to the UNICEF for the establishment of this group and for their provision of the
relevant support for the project during the celebrations of the Second Millennium celebrated
by the Sudan University of Science and Technology in cooperation with the UNICEF.
The following towns have been earmarked to implement the programmer of Drama for
Training on Peace:
-El Fulla – Abyie – Alnhood
-El Dayen – Niala
- Kadugli - Eldalang
-Malakal – Alrank
- Aldmazen – Baw
-Juba - waw
2 Why train the basic schoolteachers on the peace programmer?
The shell of the war culture could be cracked through the expansion of the circle of peace
culture. One of the crucial steps is deep penetration of the social institution on the basis of the
developmental theatre, where sinking into the cultural abyss/fathom of the programmer
targeted group is affected. Basic
Schools represent the pillars and corner stone of the bases of the community. The training of
the basic schoolteachers on the peace programmer and their infusion with the trends of the
developmental theatre for peace, directly mean a favor-peace related effect on the youngsters,
the future nucleus of tile forthcoming generations. Implanting peace in their minds,
particularly those schools sited on war-affected areas. Here we may point to a process or an
operation, which we call the pupil and the teacher as peace intermediaries.
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Time basic schoolteacher is a corner stone on the educational and learning process where the
teacher concerned may disseminate the st5irit of educational drama among his pupils making
use of the cultural elements, the folklore creative races, with their shapes and dramatic
properties to pervade the culture of peace, the values of love, brotherhood and tolerance,
forbearance, the rejection of war, tribal disputes, the causes of non-development, which lead
to tribal conflict. It is also possible for the basic schoolteacher an enlightened group, with an
active and effective presence in areas of tribal friction, to utilize local culture and the
traditional ways of settling tribal disputes such as tribal counseling meetings (Geediyah) and
casting them in dramatic and theatrical moulds for the pupils to perform before their relatives.
Time festivals amid moonlit nights arranged by the basic schoolteachers a large information
mechanism to be utilized to spread the peace culture and cementing the values of peaceful coexistence
and brotherhood.
3. School drama festivals for peace
The school day celebrations at the end of the academic year are popular and common
practices in Sudanese schools throughout the length and breadth of the country since the
inception of formal education by the British administration in pre-independence times. The
good practice is still observed in varying degrees and varying enthusiasm. The receding
enthusiasm is due to time shortcomings amid disadvantages the schools suffer. Looking at a
problem without trying to solve confirms submission. The school festivals are cultural
demonstrations, effective in traditional communities abounding in basic schools, particularly
at friction areas where nomads pass near villages in war affected zones. The families of pupils
would realize the awareness of peace, which their child has acquired amid his change from a
nomadic culture into aim urban one.
4. Elements of the School Drama Festival for Peace
A good command of the drama elements:
This means that the basic schoolteacher has received a course or briefing of not less than a month to acquaint him with the bases of
theatre, its history, its inception, its elements, and its cultural roots. Such a teacher would be able to promote his drama research
along the lines of the elements of local culture and local drama and the dramatic practices tinged with dramatic festivity features.
For example, a teacher who teaches at a basic school in Western Kordofàn State, Southern Kordofan or Southern Darfur may
unravel the traditional cultural practices of tribes of the area such as the Messeriyah, Riziqat, Nuba, Dinka, El Bargo, El Bederiyah
and the Fellatah in their capacities as groups co-existing in peace in their respective areas and enjoy eternal and historical relations
from tunes immemorial. Examples are Nafeers, the ceremonial tea-drinking sittings (baramka), nugara dances, El Mardoorn and
popular songs, which could be included in a festival for the pupils to perform, having made emphasis on peace culture elements.
Significance gestures to indicate prominence among the tribal men could be recorded to celebrate such tribal occasions i.e. taking
photographs of the chiefs of the native administration, photographs of men noted for their generosity and chivalry and the bonds,
which coupled them and to recite in public their wisdom and virtues which led to such cohesion among families. Scrutiny could be
done in the poetry of the Hadai and the Hakarna and to utilize such poetry to promote peace culture, to refute the war culture and to
discuss topics of development.
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Briefing on the elements of peace culture
A schoolmaster who prepares materials for the drama peace festival must have accession and
peruse the peace culture elements contained in the UN declaration and UN agencies such as
the UNICEF, UNESCO which could be summarized in the following: -
1. Denial of violence
2. Respect of life of any sort
3. Listening is the means of understanding
4. Tolerance, sympathy and magnanimity
5. Preservation of our planet
6. Respect of others.
A basic schoolmaster may discover these meanings within the local cultures, provided he
bears in mind that the rural and traditional communities are cohesive and are cemented with
sympathy and generosity while the family and the tribal relations constitute a strong couple,
which is the basis of their life.
Pupils’ Dramatic Talents:
A schoolmaster plays a leading role in discovering the burgeoning and creative talents of his
students. Basic school children are talented with creativity closely knitted with their local
culture. The philosophy of the developmental theatre fosters these capabilities rather than
erasing it from the memory of the pupil. School children have a flare for festival drama shows
provided the show touches the cultural environment and preliminary creative components.
The implementations of die School Festivals:
Firstly, the schoolmaster undertakes preliminary planning on the onset to include the idea, the
plan, the objectives, the methods, the time, the place, the expected results and a short plan.
Secondly the plan so outlined shall be presented to the following channels: -
The headmaster, Education office, the Representative of the UNICEF or any other
organization engaged in peace activities and the local authorities.
Thirdly, after approval and the allocation of a budget, the schoolmaster may arrange an
internal festival to check the enthusiasm and abilities of the pupils in order to select the most
appropriate pupils to undertake the task. The schoolmaster must be discreet and shall not
elbow out pupils on the pretext that they are failures in competition because such a course of
action may have dampening long-range results for the pupil who was expelled. The basic
schoolmaster would strike more success if he views his work with an aesthetic eye, based on
the fact that man is originally a creative being and that deterioration in creative performance
is but another level of comprehensive performance!!! With such an integrated creative vision,
it is possible for the basic schoolmaster to accommodate all the pupils in his project. it is
important to ensure that all tribal groups are represented and to avoid selection from a single
group or a particular tribe.
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Fourth, the place, the Selection of which will contribute a great deal to the success or failure
of the project. The place could the school campus, a public-
Park, a stadium, or a place for public dancing (such as Tawfig in Juba, El Haj Yousif
or the tribal wrestling arena in Utnbada). Occasionally it could be an open place near
the village market.
Time:
The selection of an appropriate time would definitely lead either to a fruitful or failure
conclusion of public occasions or projects in village areas. People would be available
near the school place on? a village market day6 where people filter into the village of
El Meram (El Meramn is the daughter of the Sultan, beautiful and delicate skinned
which signifies. the central position of the village and the surrounding beautiful natural
sceneries) to sell their sheep, goats, cattle, dairy products such as butter, ghee, sour
milk, which the rive rain people buy and drink with sugar and added water. It is such a
relaxing drink that brings tears to the eyelids because of its strong relaxing effect. This
drink is called (naseeyah or gubaslie, the #####alent English word is “whey”). Apart
from selling their animals or dairy products, people come to see friends or relatives or
do some other official work associated with the civil service. It would be in vain to
mount a celebration at a time or place where people would not attend. It would a waste
of time and resources, flinging money across the board, as well as efforts.
The schoolmaster does rehearsals and proofreading through verbal instructions and
directives. He relies on the preliminary capabilities of his pupils. His aim is to make an
advertisement rally and not a little and confined theatre show. A celebration containing
disguise and local mask faces, costumes, technicalities, folklore traditional practices,
where parody or comic imitations for the Hadai and Hakama are imitated. it should
pour into the pool of peace. The basic schoolmaster must train his pupils on chorus
performance and dramatic motions.
Advertisement
The basic schoolmaster may make use of the local broadcasting station, the use of
mobile loud speakers where a someone announces the occasion on a car, cart at
gathering places such as markets, mosques, churches etc. A motto for the celebration
could be selected
(Such as aid and aid taiga based, a hand and another hand would throw further). It is a motto,
which signifies solidarity, sympathy and cooperation as basic elements for peace culture.
Aftermath:
The period after the celebrations is very important where pupils could be traced and given
token prizes It is deemed appropriate that the school in question writes letters to pupils
parents 40 praise the excellent and unique performance of their children to pervade the peace
culture. Such messages are in themselves methods to spread peace culture because the
package of drama for peace culture endeavors to intensify these implications among the
people.
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Model letter:
In the name of Allah, Most Gracious, Most Merciful
Headmaster
Dear Headmaster
As you may know, our school plays a considerable role in pervading the peace culture in an
endeavor to combat the war culture and promote peaceful co-existence among the
components parts and individuals of the community.
On the strength of this subject and according to my personal follow up for the creative
abilities of my pupils, I attach an outline plan, which I hope will gain your approval and
support.
I am copying this letter to the Director, Office of Education, the Commissioner and the
UNICEF Representative for information and support they may deem appropriate to extend in
this respect.
With best wishes and highest regards, I remain
Yours sincerely
Schoolmaster.
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| العنوان |
الكاتب |
Date |
 نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-09-09, 04:49 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | Ahmed musa | 12-09-09, 05:43 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-10-09, 07:29 AM |
 Re: نـداء مـن الفنانة تهـانى الباشا !!!! | على عمر على | 12-10-09, 08:18 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-10-09, 12:33 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | مدثر قرجاج | 12-10-09, 02:40 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-10-09, 03:22 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | على عمر على | 12-10-09, 05:41 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | Ahmed musa | 12-10-09, 05:55 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | على عمر على | 12-10-09, 06:14 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-11-09, 06:48 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-19-09, 10:04 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | ابو مهند | 02-03-10, 09:58 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-14-09, 10:04 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | Abuelgassim Gor | 12-11-09, 08:18 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | khatab | 12-11-09, 09:22 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | Abuelgassim Gor | 12-11-09, 09:30 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-12-09, 06:13 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | النذير بيرو | 12-12-09, 07:39 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-12-09, 07:56 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | Ahmed musa | 12-12-09, 08:05 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | النذير بيرو | 12-12-09, 08:09 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-12-09, 08:56 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | Abuelgassim Gor | 12-12-09, 08:23 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | Abuelgassim Gor | 12-12-09, 08:37 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | Abuelgassim Gor | 12-12-09, 08:51 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | بدرالدين شنا | 12-12-09, 11:40 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | ahmed abdelati | 12-12-09, 01:01 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-13-09, 02:23 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | على عمر على | 12-13-09, 02:40 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | د.نجاة محمود | 12-13-09, 03:50 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | ahmed abdelati | 12-13-09, 04:09 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-14-09, 09:21 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-16-09, 07:26 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | ahmed abdelati | 12-20-09, 11:27 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-20-09, 11:10 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | shabaka | 12-21-09, 04:47 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-29-09, 04:04 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 01-08-10, 12:41 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد العجمي | 12-25-09, 02:07 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | Emad Ahmed | 12-25-09, 02:29 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | ahmed abdelati | 12-26-09, 03:45 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | عليش | 12-26-09, 04:08 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 12-29-09, 01:56 PM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 02-03-10, 07:50 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | حافظ كنجال | 02-03-10, 09:37 AM |
| Re: نـداء مـن الفنانة تهـانى الباشا !!!! | محمد عكاشة | 03-01-10, 09:00 PM |
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Abuelgassim Gor
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تويتر
انستقرام
يوتيوب
بنتيريست