Page 1

CARRYING THE VOICE OF THE AMERICAN UNIVERSITY IN CAIRO COMMUNITY

THE 1948 NAKBA OVER AND OVER AND OVER AGAIN

PAGE 2

BINGING ON BINGE CIRCLE? YES, PLEASE

PAGE 3

NO COUNTRY FOR BLACK MEN: RACISM IN CAIRO

PAGE 4

SUNDAY MARCH 4, 2018 VOL 99 / ISSUE 10

AUC Still in Shock Over Tragic Loss of Ahmed Abdelaziz

Abdel Aziz was remembered by his friends and family for his kindness and generosity

BY DANIA AKKAWI @DANIAAKKAWI The AUC community is still mourning the tragic loss of Mechanical Engineering junior Ahmed Abdel Aziz, who tragically passed away at the Air Force Hospital on February 20 after being found “unresponsive” in the AUC swimming pool the day before. “All of AUC is deeply saddened by this tragic loss. As a parent, my heart goes out to Ahmed’s parents, family and friends,” Noel Knille, associate vice president for campus services, told The Caravan. “He was really pure, he was one of the few people who, whenever I wanted to talk to someone and there is no one or it was not easy to talk about, I could easily call him, go out and talk about it,” said Kareem ElHosseni, a close friend of Abdel Aziz’s and Economics Senior at AUC. “We always found comfort in being totally who we are when we were together,” added ElHosseni. Abdel Aziz’s friends all remarked that he was an exceptionally kind character. “Whenever I asked him for anything, he would do it even if it meant he had to go out of his

way,” ElHosseni added. One of Abdel-Aziz’s Teaching Assistants, Engineer Aya Korayeb, told The Caravan about how Abdel-Aziz was one of the best students she had met. “He was someone who was very keen on everything such as his lab reports and grades...The minute I read the post that he had passed away, the first thing that came to mind is that he was one of the students who was always very polite,” said Korayeb. The AUC community held a prayer service for Abdel Aziz on February 21. It was attended by members of the administration, including Executive Vice President for Administration and Finance Brian MacDougall and Provost Ehab Abdelrahman. President Francis Ricciardione, who was not in Egypt at the time, sent a message of condolences. “I count myself blessed to have met Ahmed, as an enthusiastic force in the Robotics Club, whose achievements we joined in celebrating only a few months ago. Though I had the pleasure of knowing him only too briefly, he touched my own life as he did so many others with his warm smile, big heart and boundless dreams,” his email read.

Courtesy of Facebook

Mohamed Gamal, former vice president of operations of the Robotics Club, told The Caravan that Abdel Aziz was always remembered for his energy and kindness. Although Abdel Aziz had left the club this semester, he was working with Gamal on organizing the ROV Robotics Competition. Gamal said that he had met Abdel Aziz two years ago when they were working on the same project together. “He was a very kind person, he never upset anyone, he knew so many people, he had ethics, he was academically intelligent and he would always try to correct what he found wrong,” said Gamal. Gamal told The Caravan of the time when Abdel Aziz spontaneously decided to gather his friends and take them on a trip to Kattameya. “We took a walk on the mountain, went to a restaurant Abdel Aziz liked and he wanted to pay for everything,” said Gamal. Abdel Aziz is also remembered by his professors for being a dedicated and hardworking student. “He was very kind, excellent, well behaved and decent. I liked

The Student Union (SU) organized a prayer in memory of Abdel Aziz on February 20

him a lot. His name was always first on the attendance list. I’ll leave his name there and I told his friends I would not remove it. I will leave it until the end of the semester,” Associate Professor of Mechanical Engineering, Mohamed Fawzy Aly told The Caravan. Aly added that Abdel Aziz was one of the intelligent and curious students in his class. “He had a very good engineering sense and we used to talk a lot during the lectures. He is very active. He is not the shy person who sits without talking. He asks a lot of questions. I used to tease him about the questions and give him funny answers so he would remember them,” he said. MacDougall is currently leading a full investigation of the incident and has closed the pool until further notice. While MacDougall refused to comment on the incident until the investigation is complete, The Caravan spoke to Kareem ElMantawy, an eyewitness and mechanical engineering alumni, who happened to be at the pool at the time. “The boy dove and didn’t come back up,” ElMantawy told The Caravan. He said that he was with two of

his friends in the pool when they first noticed that Abdel Aziz had drowned. They instantly called for the lifeguard, who was present at the pool with a first aid kit ready and what ElMantawy assumed to be an electric shock machine. “The lifeguard responded instantly, took Abdel Aziz out of the pool and began CPR.” The clinic was called and the nurse came in less than two minutes to perform CPR, ElMantawy added. The clinic also sent an ambulance club car and a doctor quickly within a few minutes. The entire clinic staff, several members of the security personnel and officials from the University, including Knille and Dean of Students George Marquis, were also present as efforts to revive Abdel Aziz were made. “I stayed until 11pm with his father [in the hospital] and other friends began to come as well. We were trying to understand what happened and Ahmed’s situation. At first, his heart had stopped and then it had started again...They did an x-ray on his brain, there was no brain activity and they discovered that there was water inside the brain,” said

Malak Sekaly

Gamal. The Caravan has learned that the ongoing investigation is looking at the clinic’s response time and how fast the lifeguard performed CPR. Although the investigation is not yet complete, last week, the daily newspaper Youm7 reported that the lifeguard, referred to as the swimming coach in the newspaper, has been sentenced to six months in prison for negligence. The Caravan reached out to a number of AUC officials, who confirmed the Youm7 report. ElMantawy added that Abdel Aziz’s intention was to dive and practice staying underwater. “I don’t know if he was practicing diving or not, but what I understood from his friends and family is that he likes to dive underwater a lot.” As a sign of respect, some student clubs, like Glow and Cairo International Model of the Arab League (CIMAL), have suspended all campus operations for a week. The Caravan has also reached out to the Director of the Athletics Office Louise Bertini who was not available for comment. The investigation is expected to be completed in two weeks.


2 | NEWS AND POLITICS

Sunday March 4, 2018

AUC Titans in Historic Win Over Cairo Hellhounds BY DEENA SABRY AND AHMED ZADA @BONBONTALKS @AHMEDZADA12 The AUC Titans woman’s football team scored 26 points against the Cairo Hellhounds in the fourth annual Egyptian Flag Football League (EFFL) on February 17, to take their first victory in four years. “It felt amazing to win. It was our first match so we had a huge crowd. The boys’ team was there for us in the stands,” said Titans member Touka Aref. But it was an uphill battle for the Titans who were all nerves because they knew very little about the Hellhounds. “This is the first league we enter against seven other teams. As a girls team we play flag football, not tackle football, which is a no contact sport,” Aref added. But they took the field as a unit willing to do anything to win; team members on offense scored three touchdowns while those on defense scored another touchdown and did not cede ground to the Hellhounds. “We didn’t expect it obviously but it was a big deal in the entire league because there was a stereotype about the AUC team, that§ we

weren’t going to do anything but we proved them wrong,” Aref added. Head Coach of AUC Football Terry Baits said that the win was very important for the team and they hoped for many more. “Time does not matter, as long as at the end we achieve our goals and we work together as one big determined family,” he told The Caravan. This is the first league competition for the Titans women’s team, which was first established in February 2014. The league consists of a total of 700 players, divided into 16 teams, eight male and eight female. The women’s league differs from the men’s because the teams play flag and not tackle fooatball. “We prepared for the league by training during winter break really hard, we had the preseason and we trained three times a week,” Titans member Touka Aref told The Caravan. But football and all team competitions were suspended in 2016 after Omar Khaled, commonly known as Jumbo, the men’s team’s offensive guard died during a match after sustaining an injury as a result of being struck by another player’s helmet in the chest.

The match marks the first win for the women’s team since the team’s establishment

Both the men’s and women’s teams kept up to date with how other teams outside AUC were doing. “This is the first league the

girls play so there are things we already know and things we will get through experience by seeing other teams and apply what they do,” said

Eyad Hamid

Sherif Zeid, Titans president and coach of the women’s team. He said that the young women are now focusing

on promoting the team and American Football in Egypt. Additional reporting by Farida Ayoub.

From Cairo to Jerusalem: The Ongoing Catastrophe of 1948

Taha’s retelling of The Nakba suggests that The Catastrophe was comprised of several decisions leading up to 1948

BY MARIAM ISMAIL @MARIAM_ISMAIL1 Assistant Professor of Law Mai Taha last week offered a rather novel analysis of the more hidden colonialist decision-making behind the mass exodus of Palestinian refugees in 1948, commonly known as El Nakba (The Catastrophe).

During her lecture “From Cairo to Jerusalem: The Ongoing Catastrophe of Law and the Laboring Female Body,” Taha said that she was not looking at the exodus from a gender studies approach but focused on the Nakba, in a way that encompasses its movement from Cairo to Jerusalem in the 1930s and 40s.

Caravan Archives

“In the process, I look at the small and large legal decisions and questions pertaining to the construction of gender, race and class,” said Taha. She began her talk by drawing a stick figure of a man with a top hat. An arrow pointing in his direction identifies him as R.M. Graves. From there, the rest of the presentation

revolves around the man’s colonial career from Egypt to Palestine. “The history of international law and its relationship with colonialism has often been studied by scholars,” said Taha. “However, his story brings to bear how international legal institutions, namely the International Labor Organization (ILO), the League of Nations and later the United Nations, in the 1930s and 40s, consistently sought to govern the details of life of colonial people in the Middle East through experts,” added Taha. In an intricate play of intersectionality, Graves is revealed to be a combination of the white-male-colonizer who is given authoritative positions over fundamental organizations that shape a country’s structure and dynamics. His high-ranking functions enabled him to change laws in Egypt and Jerusalem, and Taha explained how these minor adjustments built up to major consequences, namely, the Nakba. After serving as the Director of the Egyptian Labor Office, he ended up having to resign due to increasing Egyptia nization and moved to his final posting as Director of the

Palestinian Labor Office. From then on, he was considered “a colonial expert”. “I am interested in how international law was implicated in governing the material details of life from mundane specifics such as the number of municipal workers sweeping the streets of Jerusalem to the governing of red light districts in Cairo, for example, to the large events; from the slow and fast partitioning of Palestine, and finally to the 1948 Nakba,” Taha said. In this new position, Graves began enforcing continuous inspections in workplaces, carried out by “whitecolonizers” now in places of authority. His policies induced a shift in Jerusalem’s power structure and created a culture of inequality: a detailed government structure and legal procedures that construct class, gender, and ethno-national relations between the various subjects. Taha revealed that although Graves was often emotional and occasionally patriotic to Cairo and Jerusalem, the legal decisions he made eventually formulated the governance of the Middle East in the interwar period. “Although, the Nakba was documented in Israeli history

as a non-legal event, it was slowly occurring through the thousands of small legal decisions before, during and after the actual events of the Nakba. It was occurring through all of the legality of that catastrophe,” said Taha. By this token, Taha connects the past, present, and future; the Nakba is ongoing, and limitless. It did not start in 1947 nor did it end with the creation of the Israeli State. “It is ongoing precisely because it continues to be the sum of its parts of the small and large legal decisions, from Graves’ labor policies on the employment of women, to his municipal orders, to the Palestine Mandate treaty, to the Partition Plan, to the hundreds of General Assembly and Security Council resolutions, and even to the celebrated Interntional Court of Justice’s Wall Decision,” she says, referring to an Advisory Opinion by the World Court, which pronounced the area as occupied territory and reaffirmed the Palestinians’ inherent right to self-determination. “[The presentation] opened the idea of the Nakba as a collection of wrong decisions,” Assistant Professor of Political Science Nora Salem told The Caravan.


ARTS AND CULTURE | 3

Sunday March 4, 2018

Emiele Bechard Finds Intimacy in the Public Life of 19th Century Cairo BY SOHA FAYED @SOHAAFAYED The works of 19th century photographer Emiele Bechard, currently on display until March 22 at the Abdul Latif Jameel Hall’s photographic gallery, offer visitors the chance to compare past and present Cairo. Bechard, a prominent French photographer who was based in Cairo in 1869, shot a collection called “An Orientalist in Nineteenth Century Cairo,” which allows one to travel through time to view the people and streets of the once magnificent metropolis. Visitors to the exhibition, which was organized by the Rare Books and Special Collections Library, were subconsciously invited to compare how drastically the city has changed over the years - for better or worse. The complete collection of 55 photographs was loaned to AUC two years ago by Philip Maritz, a Stanford University graduate. The photographs in the exhibition are arranged in one of three categories: one for food photography, one for street life and one for women. The photos are displayed in several unique ways; for

instance, a photograph of a rug had a similar rug placed right below it, bringing both a familiarity and a strangeness to the photo. Another photograph portrayed in that same manner was of people munching on bread, with an identical loaf of bread placed below it. This arrangement characterizes many of Bechard’s photography. Bechard’s diverse collection covers many aspects of 19th century Cairo; from images of water and markets to women and life in the Orient; from shooting a photo of the Nile to shooting a photo of a peasant woman. The photograph of this woman in particular was a simple yet rustic shot, making the woman’s outfit and accessories the main focus of the photo and highlighting the allure of her traditional dress. Yet another photograph was a shot of two men, one laying on a hammock with a book, with the other man sitting down on the floor below him, listening to him read. Bechard’s photos, although spanning Cairo at large, still brought a certain level of intimacy by peering into the private lives of his subjects.

Bechard’s photography peers into the public life of 19th century Cairo to reveal layers of intimacy in his subjects

An example of a photograph that portrayed Cairo’s reality in the 19th century, was a photo of men hanging around at the marketplace, socializing and drinking beverages. Yet another realistically portrayed photo that showcased Bechard’s ability to find the intimate in the

public was a photograph of two veiled women sitting on the floor selling potatoes at the marketplace. Bechard’s photographs are notable for their nostalgic feel; his subjects possess an air of melancholy and look forlornly into the distance in a manner that evokes awe and intrigue from the

Soha Fayed

audience. “We wanted the exhibition to be accessible to students in order to inspire them,” said Ola Seif, founder of the Photography and Cinema Collections in the Rare Books and Special Collections Library. She also added how rare it is for an entire set of

photographs to be found, hence why she wanted to showcase the collection in an exhibition. “What I love about Bechard’s photographs is how each photograph tells a story on its own,” said Shahd Awad, a graphic design junior who found the photographs enriching.

BingeCircle: IMC Seniors Launch Online Entertainment Show

The show has receied wide acclaim, landing the duo a partnership with Netflix

BY SOHA FAYED @SOHAAFAYED Abdelrahman Orabi and Maged Mekawy have watched the nascent online entertainment industry in Egypt steadily grow, but they always felt there was something missing. They watched thousands of YouTube videos but found

them lackluster, in need of the “oomph” factor. They did the math. Egyptian online viewers like short bursts of commentary and satire infused with comedy. On December 12, 2017, Mekawy and Orabi, both Integrated Marketing Communication (IMC) graduating seniors launched

Courtesy of BingeCircle

a large-scale online show, BingeCircle. Available on several social media platforms, it covers a range of beats and topics, including food, entertainment, movies, news, beauty and fashion. “I started thinking about the content we want to produce as a company, who is our target audience and how [we] can create

a successful online company that attracts viewers and keeps them interested,” Mekawy told The Caravan. The name of the channel was chosen to embody the duo’s aim: to get viewers to binge on the show and become a part of its circle. Binge-watching has become part of the social media lexicon, particularly with

streaming sites allowing viewers to watch episode after episode after episode of their favorite shows. After generating much buzz and garnering a lot of online attention and positive feedback, American entertainment company Netflix chose BingeCircle to collaborate with on My First Binge, a worldwide campaign that features several pairs of individuals who talk about their first time binge watching shows together. These pairs range from friends to couples in relationships, all of whom share similar but distinctly funny stories on their first binge experience. The collaboration proved to be a success for BingeCircle; it helped the channel receive more views and recognition. “Some of the many questions we asked ourselves were who should we get as hosts and what is interesting for our targeted audience,” said Mekawy. The duo then moved quickly to create Overdosed, a new show that focuses on hosting social media influencers and prominent individuals partaking in

challenges with the show’s host Hana Ghoneim, an AUC alumna. Overdosed proved to be a success, amounting to a total of 13 million views on Facebook in its first two weeks, which the duo attribute to Ghoneim’s bubbly personality. One of the show’s segments was inspired by CBS late-night talk show host James Corden’s popular series Carpool Karaoke. “We are both passionate about BingeCircle and we put our hearts and soul into it,” said Orabi. While juggling the production of BingeCircle during their last semester is quite demanding the two are graduating in June, Mekawy and Orabi remain up for the challenge. “It takes us 40 hours of nonstop editing just for one Overdosed episode. It is very time consuming,” said Mekawy. Another show produced by BingeCircle, Leh el Masreyeen Maynf3sh (Why Egyptians Can’t), takes a satirical approach to the Egyptian lifestyle and behavior. It is hosted by Alia El Saedy who is helping the duo brainstorm new ideas.

READ US ONLINE Check out more news and features by checking out our website at www.auccaravan.com or by visiting our Facebook page!


4 | OPINION

Sunday March 4, 2018

No Country for Black Men: Cairo and the Intersectional Struggle Glitter’s A Girls-Only Game

Last week, a delegation from AUC was sent to its counterpart in Paris to, among other activities, exchange dialogue on university governance and student life. At the forefront of these discussions were conversations about race, identity and student diversity. And many of these conversations seemed to circle back to questions about the ‘character’ of the Egyptian population. Are we racist? Are we discriminatory? Do we hate the foreign other, or do we, like some suggested, revere them? Admire them? And what does that say about our own selfimage? Among these conversations was one about the beauty standard many Egyptians hold others and themsleves to. After all, we all aspire to be like the fair, light-skinned and blue-eyed Western European.

And even if we don’t, we automatically recognize that figure as more ‘beautiful’ - or that was what the discussion seemed to suggest. And, to a considerable extent, I understand that perspective and agree to it. As a fairly foreign looking Egyptian, I have definitely experienced more favorable treatment in some locations. My light colored eyes especially have garnered me points where I would have otherwise scored out. This points back to our own internalized racism was what many of the students said. As with the rest of the Global South, we have become so indoctrinated by the beauty standards set out by the media that we take them for granted. Yet contrarily, the structural racism that (black and colored) non-Egyptians encounter in Egypt was explained through a hatred of the other. This simultaneous admiration for Western beauty, but the rejection of black, colored and especially “African” foreigners, characterize the Egyptian mentality towards others - or so they said. Anti-blackness is not new to Egypt. But it has a history, and one that cannot and should not be reduced to a mere ‘hatred’ or xenophobia. In doing so, we erase many of the historical contingencies that brought us to this point.

And this starts with colonialism. The British in constructing their vision for a modern, entrepreneurial society restructured the local Egyptian population into classes based on skin color. And the blacks were placed at the bottom. They were afforded the lowest-paying jobs, given the worst treatment and branded as the barbarians of society. This colonial mentality lives on to this day in the minds of many who continue to see black Egyptians, and sub-Saharan Africans alike, as inferior. But while this is not to suggest that anti-blackness was invented during the colonial experience, it was definitely exploited and exacerbated for British ends. And so the struggle of black Egyptians and other Africans in Egypt is not only a struggle against racism, it is also a struggle against colonialism; one that lives and breathes to this day. So, while the delegation in Paris did attempt to touch on this colonial history, it was overshadowed in favor of deciphering structural racism in more cultural terms. Culture, however, was mobilized for racism’s ends. It does not explain it. Culture does not explain why Egyptians continue to valorize light skin and denigrate dark tones.

The colonial experience radically transformed Egyptian society by producing modern subject: the rational, selfinterested man. And racism was used to cement this ideal. The non-rational man was unmodern, and the non-rational man just happened to be black. The rational man came to view other humans as objects to achieve his ends in a capitalist society. The rational man was presupposed on racist and racialized thinking. And so the struggle against anti-blackness should not be seen as a struggle against xenophobia, hatred or even fear of the other, but against an inherited colonialist mentality that has consistently and institutionally maintained that people of color were inferior. It is not a question of culture. It is not a question of religion or politics. It is a historical fact, one that we must acknowledge if we are to seriously attempt to dismantle a structure of racism, such as the ones that exist in Cairo.

Mohamed Kouta Editor-in-Chief mohamedkouta@aucegypt.edu

Why We Should Kill Bill: Art Without the Artist?

Deena Sabry Managing English Editor Some time last week I came across a New York Times article about why Pulp Fiction’s sweetheart Uma Thurman is angry. The article reveals how Thurman faced several assaults, including the time prominent American director Quentin Tarantino insisted she drives the blue convertible herself on the set of Kill Bill, even though the car

was not working well, which put her life in danger. Behind the scenes footage show Thurman wrestling with the car, drifting off the road and smashing into a tree before she was left in excruciating pain that permanently damaged her neck and “screwed-up” her knee. I then logged onto Twitter for a quick search, something I have developed a habit of doing whenever I come across news. My phone screen was instantly flooded with links, screenshots and long paragraphs about how Tarantino spat in Thurman’s face and choked her with a chain himself while filming several other scenes, rather than having designated actors play the scenes out. I felt disgusted and at a complete loss of words. I felt like one of my favorite movies was forever ruined; forever tainted by the actions of a man whose work I have always admired and looked up to. Which got

me thinking, have I lost the ability to separate a man from his art? Better yet, should I separate a man from his art? Over the past few years, and specifically the past months, it has become a habit for me to boycott the works of a different man everyday; I deleted Drake’s Hotline Bling and stopped seeking his music; I stopped watching films starring Johnny Depp and I have not once thought about watching any film associated with Harvey Weinstein. Coincidentally, the next day a friend talked to me about Hollywood’s sexual assault phenomenon and boycotting music and films. She argued that someone’s actions do not change any aspect of the art they produce, which is true: none of Weinstein’s successful films have become flops overnight and Kill Bill has not become any less of a cinematic masterpiece since the Times published Thurman’s

interview. But one cannot deny that someone’s actions taint whatever form of art they produce. Ever since reading the Times piece, Kill Bill has become harrowing, disturbing and heart-rending. Yes, Tarantino’s despicable actions do not lessen the efforts of every cast and crew member who effortlessly and relentlessly worked on the film. But how can I, or anyone, continue to watch the film knowing that a lot of the violence on screen was not simply acted out? How can I continue to enjoy watching the film knowing that Thurman’s life was in danger while on her way to kill Bill? That it was not actually Gogo choking her during their fight scene, but Tarantino exploiting every shred of power he had to bring his wild sadistic fantasies to life? How can I separate a man from his art when his art is sadistic, violent and misogynistic?

Malak Sekaly Caravan Columnist

Glitter versus Sharpies. Tanks versus ponies. Guns versus lipgloss. Boys versus girls. We have so clearly classified people, placed labels on their foreheads and thrown them inside bolted cages. You are either ‘this’ or ‘that’ and with each description you are given defined traits and roles. Heteronormativity was a notion I was always aware of, before knowing the term even existed. It was clear to me that our society had placed us in distinct physical spaces and psychologically in defined states of mind. I was assigned a role to fulfill and an area to roughly stay in and avoid coloring outside the lines. As a young girl I would always get statements from male peers like, “Just go and make me a sandwich.” And as an adult I would hear, “Oh you’re studying Political Science? Nice, but I don’t like women in politics.” The last straw was when a sales-person at a toy store refused to paint a star out of glitter on my nephew’s hand because he’s a boy and “glitter is for girls.” When I attempted to calm myself and explain that the notion of gender is irrelevant regarding a simple glitter star, especially to young children, she emphasized that it was the rules of the store. I stood my ground nonetheless and left the store with a happy 3-year-old. Further incidents with my nephew outlined the utter

toxicity of heteronormativity. The way we entrench the notion of gender in the minds of children is so violent that it should not surprise us if we raise boys that unconsciously interrupt girls and girls that force themselves to like the color pink. I vividly remember acting out a scene with my mother at a store when I was about 7-years-old. At the time toy tanks and machine guns were my objects of obsession, but that was blasphemy to admit. So, my mother and I decided to tell the cashier that we were buying the “boyish” toys for my brother, just to save me the embarrassment. Now as I play a crucial part in the upbringing of my nephew, I see up close how the notion of gender is so stereotypically approached. “Kakou, what makes me a boy,” he once asked. I immediately looked to my sister for advice, and my mother jumped in and said, “Because you have big muscles, Sonson.” Instantly I felt numb. “This is how it starts,” I thought to myself. This is how we convince males that they are to be stronger - physically, politically, psychologically, you name it! When I attempted to tackle his question I thought of saying, “you have short hair and I have long hair,” which only proved to me how socially constructed my own thought process is and how I am just another cog in the machine of toxic masculinity. Of course, he was too young to hear how, as a society, we define gender largely based on our sexual organs, but he was not young enough to understand that there is a difference between his friends Talia and Talat. It became clear to me that we had planted these differences in him. It was his teachers that taught him that there are boys and then there are girls, and the differences that come with the categories. And in just a few years he will unfortunately learn that we have constructed prison cells out of these categories, where we must conform to the social role we are assigned at birth.

CORRECTION On February 18, The Caravan published an article titled “Lack of Shared Governance Puts AUC Accreditation at Risk” where it said that a general faculty meeting would be held on February 26. The Caravan would like to apologize for this error.

CARRYING THE VOICE OF THE AMERICAN UNIVERSITY IN CAIRO COMMUNITY

MOHAMED KOUTA EDITOR-IN-CHIEF DEENA SABRY MANAGING ENGLISH EDITOR JAIDAA TAHA MANAGING ARABIC EDITOR MARIAM MAZHAR DEPUTY ARABIC EDITOR NOURAN ALLAM NEWS EDITOR YASMEEN MAMDOUH CAMPUS EDITOR DANAH AL ANSARI SPOTLIGHT EDITOR MALAK ABDLENABI AND NADINE FAHMY ARTS AND CULTURE EDITORS NOURANE SELIM BUSINESS EDITOR AHMED ZADA SPORTS EDITOR DOAA ABDELGHANY SCIENCE AND TECHNOLOGY EDITOR LAILA SHERIF SAID TRAVEL AND TOURISM REPORTER SARA MOHAMED ENVIRONMENT AND HEALTH REPORTER RANIA YEHIA, NOURAN EL ASHRY, HANIN QANDEEL, HUSSEIN EL MOATAZ, YASMIN NABIL ARABIC EDITORS MALAK SEKALY COLUMNIST AND SOCIAL MEDIA MANAGER FIRAS AL ATRAQCHI MANAGING DIRECTOR FIRAS AL ATRAQCHI MANAGING DIRECTOR AND FACULTY ADVISOR RASHA ALLAM ARABIC ADVISOR MAHER EL MELIGY ADMINISTRATIVE ASSISTANT


‫‪ | 4‬آراء‬

‫اﻷﺣﺪ ‪ ٤‬ﻣﺎرس‪٢٠١٨ ،‬‬

‫الـرجال «الـحـقيقيون» ال يضـربـون الـنـساء‬

‫ﰲ ﺷــﻬﺮ ﻣــﺎرس ﻣــﻦ ﻛﻞ ﺳــﻨﺔ‪ ،‬ﻳﺤﺘﻔــﻞ‬ ‫اﻟﻌــﺎمل ﺑﺸــﻬﺮ اﳌـﺮأة‪ .‬وﻃـﻮال ﻫــﺬا اﻟﺸــﻬﺮ‪،‬‬ ‫ﻧــﺮى ﻋــﺪدا ﻣــﻦ اﻟﺤﻤﻼت اﳌﻜﺮﺳــﺔ ﻟﺤﻘﻮق‬ ‫اﳌ ـﺮأة‪.‬‬ ‫وﻫــﺬا إﻧﺠــﺎز ﺟﺪﻳــﺮ ﻟﻠﻤـﺮأة‪ ،‬ﻟﻴــﺲ ﻓﻘــﻂ‬ ‫ﰲ اﳌﺠﺘﻤــﻊ اﳌــﴫي‪ ،‬وﻟﻜــﻦ ﰲ ﺟﻤﻴﻊ أﻧﺤﺎء‬ ‫اﻟﻌــﺎمل ﻣﻀﻄﻬﺪة ﰲ ﻣﻌﻈــﻢ ﺟﻮاﻧﺐ ﺣﻴﺎﺗﻬﺎ‪.‬‬ ‫ﻟﺬﻟــﻚ ﻳﻨﺒﻐــﻲ ﻋﻠﻴﻨــﺎ ﺟﻤﻴﻌــﺎ أن ﻧﺸــﻴﺪ‬ ‫ﺑﺎﻟﺠﻬــﻮد اﳌﺒﺬوﻟــﺔ ﻹﺑــﺮاز ﻗﻀﺎﻳــﺎ اﳌــﺮأة‪.‬‬ ‫وﻳﻨﺒﻐــﻲ ﻟﻨــﺎ ﺟﻤﻴﻌــﺎ أن ﻧﺘﺨــﺬ ﺧﻄ ـﻮات‬ ‫إﻳﺠﺎﺑﻴــﺔ ﻟﺘﻤﻜــني اﳌـﺮأة اﺟﺘامﻋﻴﺎ وﺳﻴﺎﺳــﻴﺎ‬ ‫واﻗﺘﺼﺎدﻳــﺎ‪.‬‬ ‫وﻟﻬــﺬا اﻟﺴــﺒﺐ ﺷــﻌﺮت ﺑﺨﻴﺒــﺔ أﻣــﻞ‬ ‫ﺧﺎﺻــﺔ ﻟﺮؤﻳــﺔ ﺣﻤﻠــﺔ ﻣــﻦ ﻗﺒﻞ ﻫﻴﺌــﺔ اﻷﻣﻢ‬

‫اﳌﺘﺤــﺪة ﻟﻠﻤ ـﺮأة ﰲ ﺑﺪاﻳــﺔ اﻟﻌــﺎم‪.‬‬ ‫ﻛﺎﻧــﺖ اﻟﺤﻤﻠــﺔ ﺑﻌﻨــﻮان »ﻷين رﺟــﻞ«‬ ‫وﺑــﺮزت اﻟﻌﺪﻳــﺪ ﻣﻦ اﳌﺸــﺎﻫري‪ ،‬ﻣﺜــﻞ ﻻﻋﺐ‬ ‫ﻛــﺮة اﻟﻘــﺪم ﻣﺤﻤــﺪ ﺻــﻼح‪.‬‬ ‫ﺳــﻄﺤﻴﺎً‪ ،‬ﺗﺒــﺪو ﻫــﺬه ﺧﻄــﻮة إﻳﺠﺎﺑﻴــﺔ ﰲ‬ ‫ﺗﺴــﻠﻴﻂ اﻟﻀﻮء ﻋــﲆ ﻗﻀﺎﻳﺎ اﳌﺮأة اﻟﺮﺋﻴﺴــﻴﺔ‪.‬‬ ‫وﻣــﻊ ذﻟــﻚ‪ ،‬ﺑﻌــﺪ اﻟﺘﻔﺘﻴــﺶ اﻟﺪﻗﻴــﻖ‪،‬‬ ‫ميﻜﻨﻨــﺎ أن ﻧــﺮى أن ﻫــﺬه اﻟﺤﻤﻠــﺔ إﺷــﻜﺎﻟﻴﺔ‬ ‫وﺗﻌــﺰز اﳌﻔﺎﻫﻴــﻢ اﻷﺑﻮﻳــﺔ ﻟﻠﺠﻨــﺲ ودور‬ ‫اﻟﺮﺟــﻞ واﳌــﺮأة ﰲ اﳌﺠﺘﻤــﻊ‪.‬‬ ‫ﺗﺴــﺘﻨﺪ اﻟﻌﻼﻗــﺎت ﺑــني اﻟﺠﻨﺴــني إﱃ‬ ‫اﻟﺴــﻠﻄﺔ‪ ،‬واﻟﻌﻨــﻒ ﺿــﺪ اﳌــﺮأة ﻳﺘﻌﻠــﻖ‬ ‫ﺑﺎﻟﻌﻨــﻒ اﻟﻬﻴﻜﲇ ﻋﲆ اﳌﺴــﺘﻮى اﻻﺟﺘامﻋﻲ‬ ‫واﻟﻘﺎﻧــﻮين واﻻﻗﺘﺼــﺎدي اﻟــﺬي ميﻨــﺢ اﻟﺮﺟــﻞ‬ ‫اﻣﺘﻴــﺎزات ﻣﻌﻴﻨــﺔ ﻋــﻦ اﳌ ـﺮأة‪.‬‬ ‫ﻟﺬﻟــﻚ ﻋﻨﺪﻣــﺎ ﻧﻘــﻮل »ﻷين رﺟــﻞ‪ ،‬ﻟــﻦ‬ ‫أﴐﺑﻬــﺎ‪ «.‬ﻧﺤــﻦ ﻧﻌــﺰز ﻣﻮﻗــﻒ اﻟﺮﺟــﺎل‬ ‫ﻛﺄرﻗــﺎم ﻟﻠﺴــﻠﻄﺔ ﻋــﲆ أﺟﺴــﺎم اﻟﻨﺴــﺎء‪.‬‬ ‫ﻧﺤــﻦ ﻧﻘــﻮل أﺳﺎﺳــﺎ ﻟﻠﺮﺟــﺎل أن ﻟﺪﻳﻬــﻢ‬ ‫اﻟﻘــﺪرة ﻋــﲆ اﺗﺨــﺎذ ﻗ ـﺮار ﻟــﴬب اﻟﻨﺴــﺎء‪،‬‬ ‫وﻟﻜــﻦ ﻳﺠــﺐ ﻋﻠﻴﻬــﻢ »اﻹﺧﺘﻴــﺎر« ﺑﻐــري‬ ‫ذﻟــﻚ‪.‬‬ ‫وﻋﻨﺪﻣــﺎ ﻧﺤــﺎول ﻣﺴــﺄﻟﺔ اﻟﻌﻨــﻒ ﺿــﺪ‬ ‫اﳌــﺮأة إﱃ إﺧﺘﻴــﺎر‪ ،‬وﻧﺤــﻦ ﻧﺨﻔــﻒ ﻣــﻦ‬ ‫ﺧﻄــﻮرة ﻫــﺬه اﻷزﻣــﺔ‪.‬‬ ‫ﻫــﺬه اﻟﻔﻜﺮﻳــﺔ ﻋــﻦ اﻟﻌﻨــﻒ ﺿــﺪ اﳌـﺮأة‬ ‫ﺗﺠﻌــﻞ اﳌﺜــﺎل إﺧﺘﻴــﺎر ﻋــﺎرض ﺑﻌﻮاﻗــﺐ‬ ‫ﻋﺎرﺿــﺔ وﻟﻜﻨﻨــﺎ ﻧﻌﻠــﻢ ﺟﻤﻴﻌــﺎ أن اﻟﻌﻨــﻒ‬ ‫ﺿــﺪ اﳌــﺮأة ﻟــﻪ آﺛــﺎر ﺟﺴــﺪﻳﺔ وﻧﻔﺴــﻴﺔ‬

‫ﺧﻄــرية ﻋــﲆ اﳌــﺮأة‪.‬‬ ‫ﻓــﺈن ﺗﺄﻃــري ﻫــﺬا اﻟﻌﻨــﻒ ﻛﺨﻴــﺎر ﻓــﺮدي‬ ‫ﻳﻌﺘــﱪ ﻣﺸــﻜﻠﺔ ﻫﻴﻜﻠﻴــﺔ ﺗﺆﺛــﺮ ﻋــﲆ ﻣﻼﻳني‬ ‫اﻟﻨﺴﺎء‪.‬‬ ‫واﻟﻌﻨــﻒ ﺿــﺪ اﳌــﺮأة ﻟﻴــﺲ ﻣﺸــﻜﻠﺔ‬ ‫ﻓﺮدﻳــﺔ‪ .‬وﻫــﻮ ﻟﻴــﺲ أﻣ ـﺮا ﻣﺤﺼــﻮرا ﰲ ﻛﻞ‬ ‫أﴎة‪ ،‬ﺑــﻞ ﻫــﻮ وﺑــﺎء ﻋﺎﳌــﻲ‪.‬‬ ‫اﻟﻌﻨــﻒ ﺿــﺪ اﳌــﺮأة ﻫــﻮ ﻫﻴــﻜﻞ ﻣــﻦ‬ ‫اﻟﻘﻤــﻊ اﻟــﺬي ﻳﺤــﺪ ﻣــﻦ ﺣﺮﻳــﺎت اﳌ ـﺮأة‪.‬‬ ‫وﻳﺴــﺊ إﻟﻴﻬــﺎ‪.‬‬ ‫ﻓﻤــﻊ ذﻟــﻚ‪ ،‬اﳌﺴــﺄﻟﺔ ﻻ ميﻜــﻦ ﻳﺤﻠﻬــﺎ‬ ‫ﺑﻄﺮﻳﻘــﺔ ﻓﺮدﻳــﺔ ﻋــﻦ ﻃﺮﻳــﻖ إﺧﺘﻴــﺎر ﻋــﺪم‬ ‫ﴐب اﻟﻨﺴــﺎء‪ .‬ﻓﻬــﻲ ﻣﺸــﻜﻠﺔ اﺟﺘامﻋﻴــﺔ‬ ‫ﺗﺘﻄﻠــﺐ اﻟﺘﻌﻠﻴــﻢ واﻟﺘﺄﻫﻴــﻞ‪.‬‬ ‫ﻋﻨﺪﻣــﺎ ﻧﻘــﻮل »ﻷين رﺟــﻞ‪ ،‬ﻟــﻦ أﴐﺑﻬــﺎ«‬ ‫ﺗﻀــﻊ اﻟﺤﻤﻠﺔ اﻷﻧﻮﺛــﺔ ﰲ ﻣﻌﺎرﺿــﺔ ﻟﻠﺬﻛﻮرة‪.‬‬ ‫وﺑــﺪﻻ ﻣــﻦ ذﻟــﻚ‪ ،‬ﻳﻨﺒﻐــﻲ أﻻ ﻧﺨﻠــﻖ ﻣﺜــﻞ‬ ‫ﻫــﺬه اﻻﻧﻘﺴــﺎﻣﺎت‪ ،‬ﺑــﻞ ﻧﻄﺎﻟــﺐ ﺑﺈﻧﺴــﺎﻧﻴﺔ‬ ‫ﻣﺸﱰﻛﺔ‪.‬‬ ‫ﻓﺎﳌﺮأة ﻟﻴﺴــﺖ ﻫﺸــﺔ وﺗﺤﺘــﺎج إﱃ ﺣامﻳﺔ‬ ‫ﻣــﻦ ﻗﺒــﻞ اﻟﺮﺟﻞ‪.‬‬ ‫وﻟﻜــﻦ اﻟﺤﻤﻠــﺔ ﺗﻄﻠــﻖ اﻟﻌﻨــﺎن ﻟﻠﻤــﺮأة‬ ‫وﺗﺤﺮﻣﻬــﺎ ﻣﻦ اﻟﺴــﻠﻄﺔ‪ ،‬واﻟﺴــﻠﻄﺔ‪ .‬ﺑﺪﻻ ﻣﻦ‬ ‫ذﻟــﻚ ﺗﺠﻌﻠﻬــﺎ ﺗﺨﻀﻊ متﺎﻣــﺎ ﻷﻫـﻮاء اﻟﺮﺟﺎل‪.‬‬ ‫ﻓــﻜﻞ اﻟﻨﺴــﺎء ﻟﻴﺲ ﻟﻬــﻦ اﻟﺤﻖ ﻓﺤﺴــﺐ‪،‬‬ ‫ﺑــﻞ أﻳﻀــﺎ ﰲ اﻟﺴــﻠﻄﺔ‪ ،‬ﻻﺗﺨــﺎذ ﻗﺮاراﺗﻬــﻦ ﰲ‬ ‫اﻟﺤﻴــﺎة‪ .‬وﻫــﻢ ﻻ ﻳﺤﺘﺎﺟــﻮن إﱃ اﻟﺮﺟــﺎل ﻟيك‬ ‫ﻳﻌﺮﻓـﻮا أن ﴐب اﳌـﺮأة ﻏــري ﻣﻘﺒــﻮل‪.‬‬ ‫ﻟﺬﻟــﻚ ﻻ ﻳﻨﺒﻐﻲ أن ﺗﻜﻮن ﻣﺴــﺄﻟﺔ اﻟﺮﺟﻮﻟﺔ‬

‫ﻻﺣـﱰام اﳌـﺮأة‪ .‬ﻳﺠــﺐ ﻋــﲆ اﻟﺮﺟــﺎل اﺣـﱰام‬ ‫اﳌـﺮأة ﻷن اﻟﻮاﺟــﺐ إن ﻧﺤــﱰم ﺟﻤﻴﻊ اﻟﻨﺎس‪.‬‬ ‫اﻟﺮﺟــﺎل ﻻ ﻳﻨﺒﻐــﻲ أن ﺗــﴬب اﻟﻨﺴــﺎء ﻷن‬ ‫ذﻟــﻚ ﺧﻄــﺄ ﺣﻘﻴﻘــﻲ‪ ،‬ﻟﻴــﺲ ﻷﻧﻬــﻢ »رﺟــﺎل‬ ‫ﺣﻘﻴﻘﻴني«‪.‬‬ ‫ﻫــﺬا ﻣــﺎ ﻳﻄﻠــﻖ ﻋﻠﻴــﻪ اﳌﻨﻈــﺮون‬ ‫اﻟﻨﺴــﻮﻳﻮن »اﻟﺬﻛــﻮرة اﻟﺴــﺎﻣﺔ« اﻟﺘــﻲ ﺗﻌﻴــﺪ‬ ‫ﺻﻴﺎﻏــﺔ اﳌﻔﺎﻫﻴــﻢ اﻷﺑﻮﻳــﺔ ﻟﻠﺠﻨــﺲ اﺳــﺘﻨﺎدا‬ ‫إﱃ اﳌﺜــﻞ اﻟﻌﻠﻴــﺎ ﻟﻠﺮﺟــﻞ‪.‬‬ ‫وﻻ ﻳﻨﺒﻐﻲ ﻟﻠﺮﺟــﺎل أن ﻳﻔﻜﺮوا ﰲ زوﺟﺎﺗﻬﻢ‬ ‫أو ﺑﻨﺎﺗﻬــﻦ أو أﻣﻬﺎﺗﻬﻦ أو أﺧﻮاﺗﻬــﻦ ﰲ إدراك‬ ‫أن ﴐب اﻟﻨﺴــﺎء ﺧﻄﺄ‪.‬‬ ‫وﻟﻜــﻦ اﻟﺮﺟــﺎل ﻻ ﻳﻨﺒﻐــﻲ أن ﻳﺸــﻌﺮوا‬ ‫ﺑﺎﻟﻀﻌــﻒ ﻣــﻦ ﺧــﻼل اﺣــﱰام اﳌــﺮأة‪.‬‬ ‫وﻳﻨﺒﻐــﻲ ﻟﻠﺮﺟــﺎل متﻜــني اﳌـﺮأة ﻟﻴــﺲ ﻷﻧﻬﻢ كتب‪ :‬أحمد زاده‬ ‫»رﺟــﺎل ﺣﻘﻴﻘﻴــﻮن« ﺑــﻞ ﻷن ذﻟــﻚ ﻫــﻮ‬ ‫اﻟــﴚء اﻟﺼﺤﻴــﺢ اﻟــﺬي ﻳﻨﺒﻐــﻲ اﻟﻘﻴــﺎم ﺑــﻪ‪» .‬اﻟﻌﻼﻗــﺔ ﺑــني ﻣــﴫ وﺑﺮﻳﻄﺎﻧﻴــﺎ زواج‬ ‫ﻛﺎﺛﻮﻟﻴــيك ﻻ ﻃــﻼق ﻓﻴــﻪ« ﻗﺎﺋــﻞ ﻫــﺬه‬ ‫اﻟﻌﺒــﺎره أﻣــني ﺑﺎﺷــﺎ ﻋﺜــامن وزﻳــﺮ اﳌﺎﻟﻴــﻪ‬ ‫اﳌــﴫي اﻟﺴــﺎﺑﻖ اﺑــﺎن اﻷﺣﺘــﻼل اﻷﻧﺠﻠﻴﺰي‬ ‫ﻟﻠﻤﻤﻠﻜــﻪ اﳌﴫﻳــﻪ و ﻛﺎن ﻳﻌﻨﻲ أن اﻟﺒﻠﺪﻳﻦ‬ ‫ﴍﻳﻜــني ﻣﱰاﺑﻄــني ﻻ ﻳﺠــﻮز ﻣﺤﺎوﻟــﺔ‬ ‫اﳌﺴــﺎس ﺑﻌﻼﻗﺘﻬــﻢ‪.‬‬ ‫ﻫــﺬه اﳌﻘﻮﻟــﻪ ﻣــﻦ اﳌﻤﻜــﻦ أن ﻧﺄﺧﺬﻫــﺎ‬ ‫ﻣــﻦ ﺷــﻘﻬﺎ اﻟﺴــﻴﺎﳼ ﻟﺘﺤﻮﻳﻠﻬــﺎ ﻟﻠﺸــﻖ‬ ‫اﻟﺮﻳــﺎﴈ ﻻﺳــﻴام أن اﻟﺮﻳﺎﺿــﻪ ﰲ ﻣــﴫ‬ ‫‪ Mohamed Kouta‬ﺧﺎﺻــﺔ ﻛــﺮة اﻟﻘــﺪم ﻗــﺪ أﺻﺒﺤــﺖ ﻣــﺄوي‬ ‫‪ Editor-in-Chief‬ﻟﻠﻜﺜــري ﻣــﻦ اﻷﴎ اﳌﴫﻳــﻪ ﺳ ـﻮاء ﻛﻌﻤــﻞ‬ ‫‪ mohamedkouta@aucegypt.edu‬أو ﻫﻮاﻳــﻪ‪.‬‬ ‫ﻛــﺮة اﻟﻘــﺪم أﺻﺒﺤــﺖ ﻣﺜﻞ رﻏﻴــﻒ اﻟﺨﺒﺰ‬ ‫ﻓﻬــﻮ ميﺜــﻞ أﻫﻤﻴــﺔ ﻛﺒــريه و ﻣﻜﺎﻧــﻪ ﺧﺎﺻــﻪ‬ ‫ﰲ ﻗﻠــﺐ اﳌﻮاﻃــﻦ اﳌــﴫي و ﻻ ﻣﺠــﺎل‬ ‫ﻟﻠﻤﺴــﺎس ﺑــﻪ ﺣﺮﺻــﺎ ﻋــﲇ اﻷﻣــﻦ اﻟﻘﻮﻣــﻲ‪.‬‬ ‫اﻟﻘﻴــﺎده اﻟﺴﻴﺎﺳــﻴﻪ اﻟﺴــﺎﺑﻘﻪ و اﻟﺤﺎﻟﻴــﻪ‬ ‫ﻋــﲆ زﻳــﺎدة اﻟ ـﴩاء‪.‬‬ ‫ﻓــﻜﻞ ﻫــﺬا اﻟـﴫاع ﺑني اﻟــﴩﻛﺎت اﳌﻨﺘﺠﺔ ﺗﻌﻠــﻢ ﻫــﺬه اﻷﻫﻤﻴــﻪ و ﺗﻘﺪرﻫــﺎ و ﺗﻘــﻮم‬ ‫وﴍﻛﺎت اﻟﺘﺴــﻮﻳﻖ‪ ،‬أﻓﺴــﺪ ﺳــﺎﺣﺔ اﳌﻨﺎﻓﺴﺔ مبﺴــﺎﻧﺪة اﻟﺠﻬــﺎت اﳌﻌﻨﻴــﻪ ﻣــﻦ أﺟــﻞ‬ ‫اﻟﻨﺰﻳﻬــﺔ وﺟﻌﻠﻬــﺎ ﻣﻨﺎﻓﺴــﺔ ﺿــﺎرة ﻣــﻦ اﻟﻨﻬــﻮض ﺑﻜــﺮة اﻟﻘــﺪم ﻣﻦ ﺟﺪﻳــﺪ ﻟﺘﻜﺘﻤﻞ‬ ‫اﻟﻨﺎﺣﻴــﺔ اﻟﻨﻔﺴــﻴﺔ واﻷﺧﻼﻗﻴــﺔ واﻻﻗﺘﺼﺎدﻳﺔ‪ .‬ﻓﺮﺣــﺔ اﳌﻮاﻃــﻦ اﻟــﻜﺎدح‪.‬‬ ‫ﻓﺄﻛــرث ﻣــﺎ ﻳﺰﻋﺠﻨــﻲ ﰲ ﻣﺠــﺎل اﻟﺘﺴــﻮﻳﻖ ﻣــﻦ ﻳﻨــﴘ ﻓﺮﺣــﺔ اﳌﻼﻳــني ﰲ ﺷــﻮارع‬ ‫واﻹﻋﻼﻧــﺎت ﻫــﻮ أﻧــﻪ ﺗﻘﺮﻳﺒــﺎ ﻣــﻦ أﻛــﱪ اﻟﺠﻤﻬﻮرﻳــﻪ وﻗــﺖ اﺣ ـﺮاز ﺣﺴــﺎم ﺣﺴــﻦ‬ ‫اﳌﺠــﺎﻻت ﰲ ﻣــﴫ‪ .‬ﺗــﴫف اﻟــﴩﻛﺎت ﻫــﺪف اﻟـــﺘﺄﻫﻞ اﻟﺘﺎرﻳﺨــﻲ ﻋــﺎم ‪ ١٩٨٩‬اﻣــﺎ‬ ‫اﳌﻼﻳــني ﻓﻘــﻂ ﻣــﻦ أﺟــﻞ ﺗﺴــﻮﻳﻖ اﻟﺠﺰاﺋــﺮ ﰲ اﺳــﺘﺎد اﻟﻘﺎﻫــﺮه و ﻋامد ﻣﺘﻌﺐ‬ ‫ﻣﻨﺘﺠﺎﺗﻬــﻢ‪ ،‬ﻣــﻊ أﻧﻨــﺎ دوﻟــﺔ ﰲ ﺣﺎﺟــﺔ إﱄ ﻋــﺎد ﻟﻴﻜﺮرﻫــﺎ ﻋــﺎم ‪ ٢٠٠٩‬اﻣــﺎم اﻟﺠﺰاﺋــﺮ‬ ‫اﻟــﴫف ﻋــﲆ ﻣﺠــﺎﻻت وﻧﻄﺎﻗــﺎت أﺧــﺮى ﰲ اﻟﺪﻗﻴﻘــﻪ ‪ ٩٤‬ﻟﻜــﻦ اﻟﻔﺮﺣــﻪ مل ﺗﻜﺘﻤــﻞ‬ ‫ﻏــري اﻟــﴫف ﻋــﲆ ﺑﻴــﻊ اﻟﻬــﻮاء ﻟﻠﻨــﺎس‪ .‬ﻋﻨﺪﻣــﺎ ﻓﺸــﻞ اﳌﻨﺘﺨــﺐ اﳌــﴫي ﰲ اﻟﺘﺄﻫﻞ‬ ‫ﻛــام أن اﳌﺸــﻜﻠﺔ اﻟﻜــﱪى ﺗﻜﻤــﻦ ﰱ ﻟﻨﻬﺎﺋﻴــﺎت ﺟﻨــﻮب اﻓﺮﻳﻘﻴــﺎ ﻋــﺎم ‪.٢٠١٠‬‬ ‫اﻹﻫﺘــامم اﳌﺒﺎﻟــﻎ ﻓﻴــﻪ ﺑﺎﻹﻋﻼﻧــﺎت ﻋــﲆ ﻫــﻞ ﻧﺘﺴــﻄﻴﻊ اﻟﻌــﻮده ﺑﺄﻟــﺔ اﻟﺰﻣــﺎن ﻗﻠﻴــﻼ‬ ‫ﺣﺴــﺎب ﺟــﻮدة اﳌﻨﺘﺠــﺎت ﻧﻔﺴــﻬﺎ‪ ،‬ﻓــﺈذا و ﻧﱰﻳــﺚ ﻟﻨﺘﺬﻛــﺮ ﻛﺎس اﻷﻣــﻢ اﻷﻓﺮﻳﻘﻴــﻪ‬ ‫أﻋﺮﻧــﺎ اﻧﺘﺒﺎﻫﻨــﺎ إﱃ اﻟﺠــﻮدة‪ ،‬ﺳــﺘﺒﻴﻊ ﺗﻠــﻚ ‪ ٢٠٠٦‬اﻟﺘــﻲ ﻧﻈﻤــﺖ ﰲ ﻣــﴫ؟‬ ‫اﳌﻨﺘﺠــﺎت ﻧﻔﺴــﻬﺎ دون اﻟﺤﺎﺟــﺔ إﱄ ﻛﺎﻧــﺖ ﻫﻨــﺎك ﻧﺴــﺒﻪ ﻛﺒــريه ﻣــﻦ اﻗــﴢ‬ ‫درﺟــﺎت اﻟﺘﻔــﴚ اﻟﺴــﻴﺎﳼ و اﻟﻔﻘــﺮ اﻟــﺬي‬ ‫اﻹﻋﻼﻧــﺎت اﻟﺒﺎﻫﻈــﺔ‪.‬‬ ‫ﻫــﺬا ﻻ ﻳﻌﻨــﻲ أﻧﻨــﻲ ﺿــﺪ اﻟﺘﺴــﻮﻳﻖ ﻋــﺎن ﻣﻨــﻪ اﳌﻮاﻃــﻦ اﳌــﴫي ﻟﻜﻨــﻪ ﻛﺎن‬ ‫ﺑﺸــﻜﻞ ﻋــﺎم‪ ،‬وﻟﻜــﻦ ﻻﺑــﺪ أن ﺗﺮﺳــﻢ ﻳــﺄيت أﺧــﺮ اﻟﻴــﻮم ﻟﺒﻴﺘــﻪ ﺑﻌــﺪ ﻗﻀــﺎء ﻋﻤﻠــﻪ‬ ‫اﻟــﴩﻛﺎت اﻟﺘﺴــﻮﻳﻘﻴﺔ اﻟﺤــﺪود ﻟﻨﻔﺴــﻬﺎ‪ ،‬ﻟﻴﺴــﱰﻳﺢ وﺳــﻂ ﻋﺎﺋﻠﺘــﻪ و ﻳﻨــﴘ ﻫﻤﻮﻣــﻪ‬ ‫ﻛــام ﻳﺠــﺐ أن ﻳﻜــﻮن ﻫﻨــﺎك رﻗﺎﺑــﺔ ﻋــﲆ مبﺠــﺮد رؤﻳﺘــﻪ ﳌﻨﺘﺨــﺐ ﺑــﻼده ﻳﻘــﺪم أداء‬ ‫اﻹﻋﻼﻧــﺎت‪ ،‬ﻟﻴــﺲ ﻓﻘــﻂ ﻣــﻦ ﻧﺎﺣﻴــﺔ ﻻ ﻣﺜﻴــﻞ ﻟﻴــﻪ وﺳــﻂ ﺣﻀــﻮر ﻣﺎﺋــﺔ اﻟــﻒ‬ ‫اﳌﺤﺘــﻮى‪ ،‬ﺑــﻞ أﻳﻀــﺎ ﰲ اﻟﻜﻤﻴــﺔ وﰲ إﺣـﱰام ﻣﺘﻔــﺮج‪.‬‬ ‫ﻋﻘــﻮل اﳌﻮاﻃﻨــني ﻛﻤﻮاﻃﻨــني ﻗﺒــﻞ أن ﻗــﺪ ﺗﻈــﻦ ﻋﺰﻳــﺰي اﻟﻘــﺎرئ أﻧﻬﺎ ﻗــﺪ ﺗﻜﻮن‬ ‫ﻣﺒﺎﻟﻐــﻪ ﻣﻨــﻲ ﰲ ﻗــﻮﱄ أن اﻟﻜــﺮه متﺜــﻞ رﻛﻦ‬ ‫ﻳﻜﻮﻧــﻮا ﻣﺴــﺘﻬﻠﻜني‪.‬‬ ‫ﻣــﻦ أرﻛﺎن اﻷﻣــﻦ اﻟﻘﻮﻣــﻲ ﻟﻠﺪوﻟــﻪ اﳌﴫﻳﻪ‬ ‫ﻟﻜــﻦ اﻷﻳــﺎم اﺛﺒﺘــﺖ ﻫــﺬا‪ ،‬اﺣﺘﺸــﺎد اﳌﻼﻳــني‬ ‫ﻣﺴــﻠﻤني و ﻣﺴــﻴﺤﻴني و ﺳــﻴﺪات و اﻃﻔﺎل‬ ‫ﰲ اﻷﺳــﺘﺎدات و اﻣــﺎ ﺷﺎﺷــﺎت اﻟﻌــﺮض ﰲ‬ ‫اﻟﺸـﻮارع و اﳌﻨــﺎزل ﺛﺆﻛــﺪ ﺻــﺪق ﻣــﺎ ﻧﻘﻮﻟﻪ‬ ‫ﻏــﺪا ً ‪ ،‬ﻓﻜﺜـريا ﻣــﺎ ﻧﺸــﻌﺮ أﻧــﻪ ﻳﺘﻮﺟــﺐ ﻋﻠﻴﻨﺎ ان اﻟﻜــﺮه ﻟﻴﺴــﺖ اداه ﺗﺴــﻠﻴﻪ ﺑــﻞ اﻫﻤﻴــﻪ‬ ‫اﻟﺒﻘــﺎء ﰲ داﺋــﺮة اﻟﺤــﺰن أو اﻟﻔــﺮح ﻓﱰة ﻣﻌﻴﻨﺔ ﻗﺼــﻮي ﻟﻠﻤﻮاﻃــﻦ ﻟــيك ﻳﻨــﴘ اﺣﺰاﻧﻪ‪.‬‬ ‫؛ ﺣﺘــﻰ ﻧﻜــﻮن ﺻﺎدﻗــني ﰲ ﻣﺸــﺎﻋﺮﻧﺎ وﻫــﺬا ﻧﻀﻴــﻒ إﱃ ذﻟــﻚ ان اﻟﻜــﺮه ﻣﺼــﺪر رزق‬ ‫ﺑﺴــﺒﺐ ﻓﻜﺮﺗﻨﺎ وﻧﻈﺮﺗﻨﺎ ﻣﻦ ﻣﻨﻈﻮر ﺷــﺨﴢ ﻟﻠﻤﻼﻳــني ﻣــﻦ اﳌﴫﻳــني ﻓﻬﻨــﺎك اﻟﻌﺎﻣﻠــني‬ ‫ﻟﻠﺪﻧﻴــﺎ ‪ ،‬وﻛﺄﻧﻬــﺎ ﻛﺘﻠــﺔ واﺣﺪة ﺗﺘﻐري ﻛﻠﻴــﺎ أو ﻻ ﰲ اﻟﻨــﻮادي اﻟﺮﻳﺎﺿﻴــﻪ و اﺗﺤــﺎدات اﻟﻜــﺮه‬ ‫واﳌﻼﻋــﺐ و ﻓــﺮوع أﺧــﺮي ﺗﻨﺘﻤــﻲ ﻟﺸــﺠﺮة‬ ‫ﺗﺘﻐــري ﻋــﲆ اﻹﻃــﻼق‪.‬‬ ‫أﻣــﺎ ﻋــﻦ ﻣــﺎ اﻟــﺬي ﻳﻨﺒﻐــﻲ ﻋﻠﻴــﻚ ﺗﺮﻛــﻪ ‪ ،‬ﻛــﺮة اﻟﻘــﺪم اﻟﺘــﻲ اذا امثــﺮت اﻧﻌﺸــﺖ‬ ‫ﻓﺄﻋﺘﻘــﺪ أﻧــﻪ ﻳﺘﻮﺟــﺐ ﻋــﲆ ﻛﻞ ﻣﻨــﺎ اﻟﻨﻈــﺮة اﻟﺪوﻟــﻪ و اذا ذﺑﻠــﺖ اﻧﻬــﺖ ﻋــﲇ اﻣــﺎل‬ ‫ﰲ ﻛﻞ ﻣــﺮة ﻳﻜــﴪ ﻓﻴﻬــﺎ ﺧﺎﻃــﺮ ﺷــﺨﺺ ﻣــﺎ اﻟﻜﺜــري و ﻓﺮﺿــﺖ ﺟــﻮ ﻋــﺎم ﻣــﻦ اﻟﻜﺄﺑــﻪ و‬ ‫أو ﻳﺴــﺒﺐ أذى ﳌــﻦ ﺣﻮﻟــﻚ ﻓﻘــﺪ ﻻ ﻳﻜــﻮن اﻟﺨﻤــﻮل‪.‬‬ ‫ﻻﺳــﻤﻚ ﻣــﻜﺎن ﰲ ﺳــﺠﻼت اﻟﺘﺎرﻳــﺦ ﻣــﺪى ﻓﻬــﻞ ﻓﻜﺮﻧــﺎ ﰲ اﻟﻌﺎﻣــﻞ اﳌــﴫي او‬ ‫اﻟﺤﻴــﺎة ‪ ،‬وﻟﻜــﻦ ﻋــﲆ اﻷﻗــﻞ ﻻ ﺗــﱰك ﺧﻠﻔــﻚ اﻟﻌﺎﻣﻠــﻪ اﳌﴫﻳــﻪ اﻟﺬﻳــﻦ متﺜــﻞ ﻟﻬــﻢ ﻛــﺮة‬ ‫ﻣــﻦ ﻳﺬﻛــﺮون ﺳــﻮء ﺧﻠﻘــﻚ أو ﻣﻌﺎﻣﻼﺗﻚ ﻣﻊ اﻟﻘــﺪم ﻣﺼــﺪر رزق و ﻓﺮﺣــﻪ ؟ ﻣــﺎذا‬ ‫ﻣــﻦ ﻳﺪﺧﻠــﻮن ﺣﻴﺎﺗــﻚ وﻣــﻊ ﻛﻞ ﻣــﻦ ميــﺮ ﰲ ﺳــﻴﺤﺪث ﻟــﻮ ﺗــﻢ ﻫــﺪم اﻟﻘﻄــﺎع اﻟﺨــﺎص‬ ‫و ﻗﻄــﻊ ارزﻗﺎﻫــﻢ ﳌﺠــﺮد اﻗﺘﻨــﺎع اﻟﺒﻌــﺾ‬ ‫ﻃﺮﻳﻘﻚ‪.‬‬ ‫ﻓﺄﻋﺘﻘــﺪ ﻣــﻦ وﺟﻬﺔ ﻧﻈــﺮي اﳌﺘﻮاﺿﻌــﺔ أن ان ﻛــﺮة اﻟﻘــﺪم ﺗﻔﺎﻫــﻪ و ﺗﻀﻴﻴــﻊ ﻟﻠﻮﻗــﺖ‬ ‫اﻟﻌﺒــﺎرة ﻟﻴﺴــﺖ مبﺎ ﺳــﺘﱰﻛﻪ ﺧﻠﻔــﻚ ﰲ اﻟﺪﻧﻴﺎ اﻟﺜﻤــني‪ ،‬ﻻ ﻳــﺎ ﺻﺪﻳﻘــﻲ ﻓﻬﻨــﺎك ﻻﻋﺒــﻮن‬ ‫‪ ،‬وﻟﻜــﻦ ﻓﻴــام ﺳــﺘﱰﻛﻪ ﰲ ذﻫــﻦ ﻛﻞ ﻣــﻦ ﻣــﺮ ﺻﻨﻌـﻮا ﻣﺠــﺪا ﻟﺒﻠﺪﻧﺎ ﻋﺎﳌﻴﺎ ﻣﻨﻘﻄــﻊ اﻟﻨﻈري‬ ‫ﻣﺜــﻞ ﻣﺤﻤــﺪ ﺻــﻼح اﳌﺤــﱰف ﰲ ﻟﻴﻔﺮﺑــﻮل‬ ‫ﻋﻠﻴــﻚ ﻓﻴﻬﺎ‪.‬‬ ‫دورﻧــﺎ اﻟﺘﻌﺎﻣــﻞ ﻣــﻊ اﳌــﻮت واﻟﻔﻨــﺎء ﻻ اﻷﻧﺠﻠﻴــﺰي و ﻋﺎﺷــﻖ اﻟﺠامﻫــري ﻫﻨــﺎك‪.‬‬ ‫ﻳﻨﺘﻬــﻲ إﱃ ﺧﻴﺎرﻳــﻦ‪ :‬اﳌﻘﺎوﻣــﺔ أو اﻟﺨــﻮف اذا ﺗﻨﺎوﻟﻨــﺎ اﳌﻮﺿــﻮع ﺑﺎﻟﺸــﻖ اﻷﻗﺘﺼــﺎدي‬ ‫اﳌــﺮﴈ ‪ ،‬ﻓﻨﺤــﻦ مل ﻧﺨﻠــﻖ ﻟﻨﻤــﻮت ﻻ ﺣﺘــﻰ ﺳــﻨﺠﺪ ان ﺻــﻼح ﻳﺪﻓــﻊ ﴐاﺋــﺐ و ﺗﱪﻋﺎت‬ ‫ﻟﻠﻌﻴــﺶ أﺑــﺪا ؛ ﻧﺤــﻦ ﺧﻠﻘﻨــﺎ ﻟﻠﺤﻴــﺎة ﻓﻤــﻦ ﻣــﻦ دﺧﻠــﻪ ﺗﺴــﺎﻫﻢ ﰲ ﻧﻬــﻮض اﻷﻗﺘﺼــﺎد‬ ‫اﻷﻓﻀــﻞ أن ﻧﺤﻴــﺎ مبــﺎ ﻧـﺮاه ﻣﻮاﻛﺒــﺎ ﳌﻌﺘﻘﺪاﺗﻨﺎ ﺣﺘــﻲ ان ﻛﺎﻧــﺖ ﻫــﺬه اﻷرﻗــﺎم رﻣﺰﻳــﻪ ﻟﻜﻦ‬ ‫‪ ،‬وﻟﻜــﻦ اﻷﻫــﻢ أﻻ ﻧﺮﺣــﻞ ﻋﻨــﻪ وﰲ ﻗﻠﺐ أﺣﺪ ﻧﻀــﻒ اﱄ ﻫــﺬا ان ﻧــﺎدي اﳌﻘﻮﻟــﻮن اﻟﻌﺮب‬ ‫ﻣــﻦ ﻣــﻦ ﻋﺮﻓﻨــﺎ ﻣﻜــﺮوه أو ﺑﻐﻀــﺎء ﺗﺠﺎﻫﻨــﺎ‪ .‬اﳌــﴫي و ﻫــﻮ ﻧــﺎدي ﺣﻜﻮﻣــﻲ ﻣــﺎزال‬

‫حكايتنــا مــع األشــياء‪ :‬يا ريــت نبيعها بــدال من الهواء‬

‫كتبت‪ :‬جيداء طه‬

‫ﻣﻨــﺬ ﻣــﺪة ﻟﻴﺴــﺖ ﺑﻘﻠﻴﻠــﺔ‪ ،‬ﻗﻤــﺖ‬ ‫مبﺸــﺎﻫﺪة ﻓﻴﺪﻳــﻮ ﺑﺈﺣــﺪى ﻣﺤــﺎﴐايت‬ ‫ﻳﺴــﻤﻰ »ﺣﻜﺎﻳﺘﻨــﺎ ﻣــﻊ اﻷﺷــﻴﺎء« ﻋــﻦ دورة‬ ‫اﻹﻧﺘــﺎج اﻟﻐــري ﻋﺎدﻟــﺔ ﻟﻠﻤﻨﺘﺠــﺎت اﳌﺨﺘﻠﻔــﺔ‬ ‫ﺑﺎﻟــﺪول اﳌﺘﻘﺪﻣــﺔ وﺗﺄﺛريﻫــﺎ ﰲ اﳌﻘﺎﺑــﻞ ﻋﲆ‬ ‫اﻟــﺪول اﻟﻨﺎﻣﻴــﺔ‪.‬‬ ‫وﻣــﻦ ﺿﻤــﻦ اﻟﻨﻘــﺎط اﻟﺘــﻲ ﻃﺮﺣﻬــﺎ‬ ‫اﻟﻔﻴﺪﻳــﻮ ﻫــﻲ ﺗﺤــﻮل ﻣﺠﺘﻤﻌﺎﺗﻨــﺎ إﱃ ﻣﺠﺮد‬ ‫ﻣﺴــﺘﻬﻠﻜني‪ .‬ﻓــﺈذا راﻗﺒﻨــﺎ أدق ﺗﻔﺎﺻﻴــﻞ‬ ‫ﻳﻮﻣﻨــﺎ‪ ،‬ﺳــﻨﻼﺣﻆ أﻧﻨــﺎ ﺑﻄﺮﻳﻘــﺔ ﻣﻌﻴﺸــﺘﻨﺎ‬

‫أﺻﺒﺤﻨــﺎ ﻋﺎﻟﻘــني ﰲ ﺣﻠﻘــﺔ ﻣــﻦ ﺣﻠﻘــﺎت‬ ‫ﺗﺮﺳــﻴﺦ اﻟﺮأﺳــامﻟﻴﺔ‪ .‬ﻧﺬﻫــﺐ اﱃ اﻟﻌﻤــﻞ‬ ‫يك ﻧﻜﺴــﺐ اﳌــﺎل ﻟﻨﺸــﺎﻫﺪ اﻟﺘﻠﻔــﺎز اﻟــﺬي‬ ‫ﺳــﻴﺠﻌﻠﻨﺎ ﻧﺸــﻌﺮ ﺑﺎﺿﻄـﺮار إﱃ ﴍاء اﳌﺰﻳــﺪ‬ ‫ﻣــﻦ اﳌﻨﺘﺠــﺎت ﺣﺘــﻰ أﺻﺒﺤــﺖ ﺗﻠــﻚ‬ ‫ﻃﺮﻳﻘــﺔ ﻣﻌﻴﺸــﺘﻨﺎ اﻟﺘــﻲ ﻻ ﻧﻌــﺮف ﻏريﻫــﺎ‪.‬‬ ‫وﻣﺸــﻜﻠﺘﻨﺎ اﻷﻛــﱪ ﺣﺎﻟﻴﺎ وﺧﺎﺻــﺔ ﰲ ﻣﴫ‬ ‫أﻧﻨــﺎ أﺳــﺄﻧﺎ إﺳــﺘﺨﺪام ﺧﺎﺻﻴــﺔ اﻟﺘﺴــﻮﻳﻖ‬ ‫ﻟﻠﻤﻨﺘﺠــﺎت‪ ،‬ﻓﺎﻷﻣــﺮ ﻻ ﻳﻘﺘــﴫ ﻋــﲆ اﻟﺘﻠﻔﺎز‬ ‫ﻓﻘــﻂ‪ ،‬ﺑــﻞ ﰱ ﻛﻞ ﻣــﻜﺎن وﻛﻞ دﻗﻴﻘﺔ ﺑﻴﻮﻣﻨﺎ‬ ‫ﻧﺘﻌــﺮض ﻹﺳــﺘﻬﺪاف ﴍﻛﺎت اﻟﺘﺴــﻮﻳﻖ‬ ‫ﺑﻄﺮﻳﻘــﺔ ﻣــﻦ وﺟﻬــﺔ ﻧﻈــﺮى ﺗــﻜﺎد ﺗﻜــﻮن‬ ‫ﻣﺪﻣــﺮة ﻟﻠﻤﺠﺘﻤﻌــﺎت اﳌﺨﺘﻠﻔــﺔ ﻟﻠﻌﺪﻳــﺪ‬ ‫ﻣــﻦ اﻷﺳــﺒﺎب‪.‬‬ ‫أوﻻ‪ ،‬ﻓﻜــﺮة زﻳﺎدة اﻹﻧﺘﺎج ﻧﻔﺴــﻬﺎ ﺑﺎﻟﴪﻋﺔ‬ ‫اﻟﺘــﻲ ﻧﺮاﻫــﺎ ﺗﻈﻠــﻢ اﻟﻜﺜــريون وﺧﺎﺻــﺔ‬ ‫ﺑﺎﻟــﺪول اﻟﻨﺎﻣﻴــﺔ اﻟﺘــﻲ ﻏﺎﻟﺒــﺎ ﻣــﺎ ﺗﺒﻨــﻰ ﻓﻴﻬﺎ‬ ‫اﳌﺼﺎﻧــﻊ اﻟﺘــﻲ ﺗﺴــﺘﻐﻞ اﻟﻌامﻟــﺔ اﻟﺮﺧﻴﺼــﺔ‬ ‫وﻻ ﺗﻌﻄﻴﻬــﻢ ﻛﺎﻣــﻞ ﺣﻘﻮﻗﻬــﻢ وﺗ ُﻠﻘــﻰ‬ ‫ﻓﻴﻬــﺎ ﻣﺨﻠﻔــﺎت اﻟــﺪول اﳌﺘﻘﺪﻣــﺔ‪ ،‬ﻫــﺬا‬ ‫ﻏــري اﻟﺘﻠــﻮث اﻟﺒﻴﺌــﻲ اﻟﺘــﻲ ﺗﺘﺴــﺒﺐ ﻓﻴــﻪ‬ ‫اﳌﺼﺎﻧــﻊ‪.‬‬ ‫ﺛﺎﻧﻴــﺎ‪ ،‬إﺳــﺘﻐﻼل ﺑﻌــﺾ اﻟــﴩﻛﺎت ﻟﺘﻠــﻚ‬ ‫اﻟﺤﻠﻘــﺔ اﻟﻼﻣﺘﻨﺎﻫﻴــﺔ ﻣــﻦ اﻟﺒﻴــﻊ واﻟ ـﴩاء‬ ‫وﺗﺼﻤﻴــﻢ ﻣﻨﺘﺠﺎﺗﻬــﻢ ﺑﻄﺮﻳﻘــﺔ وﻗﺘﻴﺔ ﺣﻴﺚ‬ ‫ﻻ متﻜــﺚ ﻃﻮﻳـﻼً وﻳﻀﻄــﺮ اﳌﺴــﺘﻬﻠﻜﻮن إﱃ‬

‫ﴍاء اﳌﻨﺘــﺞ اﻷﺟــﺪد‪.‬‬ ‫ﻫــﺬه ﻣﺸــﻜﻠﺘﻲ ﻣــﻊ ﻫﺎﺗــﻒ اﻷﻳﻔــﻮن‪،‬‬ ‫ﻓﻜﻠــام ﺗﻄﻠــﻖ اﻟﴩﻛــﺔ ﻣﻨﺘﺠــﺎً ﺟﺪﻳــﺪا ً‪،‬‬ ‫ﻳﺒــﺪأ اﳌﻨﺘــﺞ اﻷﻗــﺪم ﺑﺎﻟﺘﻠــﻒ‪ .‬وﺣﺘــﻰ إن مل‬ ‫ﺗﻘﺼــﺪ اﻟﴩﻛــﺔ ذﻟــﻚ‪ ،‬اﻟﴪﻋﺔ اﻟﺘــﻲ ﺗﺘﻄﻮر‬ ‫ﺑﻬــﺎ اﳌﻨﺘﺠــﺎت‪ ،‬ﺗﺠﻌــﻞ اﳌﻨﺘــﺞ اﻷﻗــﺪم ﻗﻠﻴﻼً‬ ‫ﻳﺒــﺪو ﻛﺄﻧــﻪ ﻣــﻦ ﻗــﺮن آﺧــﺮ‪.‬‬ ‫ﺛﺎﻟﺜــﺎً‪ ،‬اﻟﻄﺮﻳﻘــﺔ اﻟﺘــﻲ ﺗﺘﺒﻌﻬــﺎ ﴍﻛﺎت‬ ‫اﻟﺘﺴــﻮﻳﻖ ﻧﻔﺴــﻬﺎ ﻟﺰﻳــﺎدة اﳌﺒﻴﻌــﺎت ﻋــﻦ‬ ‫ﻃﺮﻳــﻖ اﻟﻮﺻــﻮل إﱃ ﻋﻘــﻮل اﻟﻨــﺎس أى‬ ‫اﳌﺴــﺘﻬﻠﻜني ﻻ ﺗﻌــﺪ أﻛــرث ﳾ أﺧﻼﻗــﻲ‬ ‫ﻣــﻦ رأﻳــﻲ‪ .‬ﻓﻤﺒــﺪأ ﻣﺤﺎوﻟــﺔ إﻗﻨــﺎع اﻟﻨــﺎس‬ ‫مبﻨﺘﺠــﺎت ﻣﺤــﺪدة وﺟﻌﻠﻬﻢ ﻳﺸــﻌﺮون ﻛﺄن‬ ‫ﺣﻴﺎﺗﻬــﻢ ﺗﺘﻮﻗــﻒ ﻋــﲆ اﻟـﴩاء ﺛــﻢ اﻟـﴩاء‬ ‫ﻣﺒــﺪأً ﺿــﺎرا ً ﻟﻨﻔﺴــﻴﺔ اﳌﻌﺮﺿــني ﻟﻺﻋﻼﻧــﺎت‬ ‫ﺧﺎﺻــﺔ ﻫــﺆﻻء اﻟﺬﻳﻦ ﻟﻴــﺲ ﻟﺪﻳﻬــﻢ اﳌﻘﺪرة‬ ‫ﻋــﲆ اﻟ ـﴩاء‪.‬‬ ‫إﺿﺎﻓــﺔ إﱃ إﺳــﺘﻐﻼل اﻟﻼﻓﺘــﺎت ﺑﺎﻟﺸـﻮارع‬ ‫اﻟﺮﺋﻴﺴــﻴﺔ ﺑﻄﺮﻳﻘــﺔ ﻣﻜﺜﻔــﺔ ﺑﻬــﺪف ﺟــﺬب‬ ‫إﻧﺘﺒــﺎه اﳌــﺎرة وإرﺳــﺎل اﻟﺮﺳــﺎﺋﻞ اﻟــﻼ‬ ‫ﺷــﻌﻮرﻳﺔ أﻳﻀــﺎ ﻣــﻦ أﺟــﻞ زﻳــﺎدة اﳌﺒﻴﻌﺎت‪.‬‬ ‫راﺑﻌ ـﺎً‪ ،‬ﺟﻌــﻞ ﻫــﺬا اﻟﺠــﻮ اﻟﻌــﺎم ﻟﺰﻳــﺎدة‬ ‫اﻹﺳــﺘﻬﻼك اﻟﻨــﺎس ﰲ ﺿﻐــﻂ داﺋﻢ ﻟﻜﺴــﺐ‬ ‫اﳌــﺎل ﻣــﻦ أﺟــﻞ ﻣﻮاﻛﺒــﺔ ﴎﻋــﺔ ﺣﻠﻘــﺔ‬ ‫اﻹﻧﺘــﺎج‪ ،‬ﺣﺘــﻰ أﻇــﻦ أﻧﻨــﺎ ﻧﺴــﻴﻨﺎ اﻟﻬــﺪف‬ ‫ﻣــﻦ ﺣﻴﺎﺗﻨــﺎ ﻣــﻦ اﻷﺳــﺎس‪ ،‬وﻧﺮﻛــﺰ ﻓﻘــﻂ‬

‫لـــن تــعـيـــش أبـــد ًا ولـــن تـمـــوت غـــــد ًا‬

‫كتبت‪ :‬مرمي مظهر‬

‫ﻛــﻢ ﻋــﺪد اﳌـﺮات اﻟﺘــﻲ ﻧﺼــﺢ أﺣﺪﻛــﻢ ﺑــﺄن‬ ‫ﻳﻌﻴــﺶ اﻟﺤﻴﺎة وﻛﺄﻧﻪ ﺳــﻴﻤﻮت ﻏــﺪا ‪ ،‬ﰲ ﺣني‬ ‫أن اﻟﺒﻌــﺾ اﻵﺧــﺮ ﻳﻨﺼﺤــﻚ ﺑــﺄن ﺗﺘﻤﺴــﻚ‬ ‫ﺑــﻜﻞ ﻳــﻮم وﺗﻌﻤــﻞ وﺗﺒﻨــﻲ وﻛﺄﻧــﻚ ﺗﻌﻴــﺶ‬ ‫أﺑــﺪ اﻟﺪﻫــﺮ ‪.‬‬ ‫وﺑﻐــﺾ اﻟﻨﻈــﺮ ﻋــﻦ اﳌﻔﻬــﻮم واﳌﻌﺘﻘــﺪ‬ ‫اﻟﺪﻳﻨــﻲ اﻟــﺬي ﻗــﺪ ﺗــﺪور ﺣﻮﻟــﻪ ﻫــﺬه‬ ‫اﳌﺴــﺄﻟﺔ‪ ،‬ﻓﺄﻧــﺎ أﻋﺘﻘــﺪ أن ﻛﻞ ﻫــﺬه اﻟﻌﺒــﺎرات‬ ‫ﺗﺆﻛــﺪ ﻋــﲆ ارﺗﻔــﺎع ﻣــﺆﴍ اﳌﺨــﺎوف ﻣﻦ ﻛﻼ‬

‫اﻟﻨﺎﺣﻴﺘــني‪.‬‬ ‫وﻟﻬــﺬا أﻋﺘﻘــﺪ أن ﻣــﻦ ﻳﻨﺼﺤــﻚ ﺑــﺄن‬ ‫ﺗﺘﻤﺴــﻚ ﺑﺎﻟﺤﻴــﺎة ﻛﺄﻧــﻚ ﺗﻌﻴــﺶ أﺑــﺪا ﻳﻌــﺎين‬ ‫ﻣــﻦ اﻟﺸــﻌﻮر ﺑﺎﻟﺨــﻮف ﻣــﻦ اﻟﻔﻨــﺎء ﺣﺘــﻰ‬ ‫وﻟــﻮ ﻛﺎﻧﺖ اﻟﺤﻘﻴﻘــﺔ اﻟﻮﺣﻴــﺪة اﳌﺘﻔﻖ ﻋﻠﻴﻬﺎ‬ ‫‪ ،‬واﻟﺨــﻮف ﻣــﻦ اﻟﻔﻨــﺎء ﻳﺨﺘﻠﻒ ﻋــﻦ اﻟﺨﻮف‬ ‫ﻣــﻦ اﳌــﻮت ؛ ﻷن ﻣﻨﻈﻮرﻧــﺎ ﻟﻠﻤــﻮت ﻳﺨﺘﻠــﻒ‬ ‫ﺗﺒﻌــﺎ ﳌﻌﺘﻘﺪاﺗﻨــﺎ اﳌﺘﺒﺎﻳﻨــﺔ ‪ ،‬وﻟﻜــﻦ اﻟﺨــﻮف‬ ‫ﻣــﻦ اﻟﻔﻨــﺎء ﻳﻜــﻮن رﻏﺒــﺔ ﰲ اﻟﻈﻬــﻮر أو ﺗــﺮك‬ ‫ﻣــﺎ ﻳﺠﻌــﻞ اﻟﻨــﺎس ﻋﻨﺪﻣــﺎ ﻳﺮوﻧــﻚ ﻳﻌﺮﻓــﻮن‬ ‫اﺳــﻤﻚ‪ ،‬أو ﻳﻌﻴــﺶ ﰲ وﻫــﻢ ﻣﻘﺎوﻣــﺔ اﳌــﻮت‬ ‫وﻛﺄﻧــﻚ ﻟــﻮ أدرت ﻇﻬــﺮك ﻟﻪ ﻓﻠﻦ ﻳﻨــﺎل ﻣﻨﻚ ‪،‬‬ ‫ﺣﺘــﻰ وإن ﻛﺎن اﳌــﻮت ﻫﻮ اﻟﺤﻘﻴﻘﺔ اﻟﻮﺣﻴﺪة‬ ‫اﻟﺘــﻲ اﺗﻔﻘــﺖ ﻋﻠﻴﻬــﺎ اﻟﺒﴩﻳــﺔ ﺟﻤﻴﻌﻬﺎ‪.‬‬ ‫وﻋــﲆ ﺻﻌﻴــﺪ آﺧــﺮ ﻧﺠــﺪ ﻣــﻦ ﻳﻨﺼــﺢ‬ ‫ﺑﺎﻟﻌﻴــﺶ وﻛﺄﻧﻚ ﺳــﺘﻤﻮت ﻏــﺪا ‪ ،‬وﻫﻮ ﻳﺨﺎف‬ ‫أﻳﻀــﺎ ﻣــﻦ ﻓﻜــﺮة أﻧــﻪ ﻗــﺪ ميــﻮت ﻗﺒــﻞ أن‬ ‫ﻳﻔﻌــﻞ أو ﻳﻘــﻮل أﻣــﺮ ﻣــﺎ ورمبــﺎ ﻳﺨــﴙ أن‬ ‫ﻳﻔــﻮت ﳽء ﻣــﺎ وﻛﺄﻧــﻪ داﺧﻞ ﻣﻀامر ﺳــﺒﺎق‪.‬‬ ‫وﻫــﺬا اﻹﺣﺴــﺎس ﺑﺄﻧــﻚ ﺗــﺮى ﺧــﻂ اﻟﻨﻬﺎﻳﺔ‬ ‫أﻣﺎﻣــﻚ وﻋﻠﻴــﻚ أن ﺗﺤﺼﻞ وﺗﺤﻘــﻖ أﻛﱪ ﻗﺪر‬ ‫ﻣﻤﻜــﻦ ﻣــﻦ اﻷﺣــﻼم واﻹﻧﺠــﺎزات واﻟﺘﺠــﺎرب‬ ‫ﻗﺒــﻞ ﻓـﻮات اﻵوان‪.‬‬ ‫أﻧــﺎ ﻻ أﻧﺎﻗــﺶ ﻣــﻦ ﻳﻨﻈــﺮون ﻟﻸﻣــﺮ ﻣــﻦ‬ ‫ﻣﻨﻈــﻮر ﺣﻴــﺎيت واﺟﺘامﻋــﻲ ﺑﺤــﺖ‪.‬‬ ‫وﻫﻨــﺎ ﺳــﺄﻟﺖ ﻧﻔــﴘ ﻣــﻦ أﻛــﻮن ﺑــني ﻫﺬه‬

‫اﻷمنــﺎط اﻟﺒﴩﻳــﺔ ؟ ﻫــﻞ أﻋﻴــﺶ اﻟﻴــﻮم وﻛﺄﻧﻪ‬ ‫آﺧــﺮ ﻳــﻮم ﰲ ﺣﻴــﺎيت أم أﺑﻨــﻲ وﻛﺄين أﻋﻴﺶ أﺑﺪ‬ ‫اﻟﺪﻫــﺮ ‪ ،‬ﺣﻘﻴﻘﺔ اﻛﺘﺸــﻔﺖ ﰲ ﻧﻬﺎﻳــﺔ اﳌﻄﺎف‬ ‫إﱃ أﻧﻨــﻲ ﻻ أﻧﺘﻤــﻲ ﻷي ﻣــﻦ ﺗﻠــﻚ اﻷﻓــﻜﺎر ‪،‬‬ ‫وﻗــﺪ أﻛﻮن ﻣﺨﻄﺌﺔ‪ ،‬وﻟﻜﻨﻨﻲ ﰲ اﻟﺤﻘﻴﻘﺔ أرى‬ ‫ﺣﻴــﺎيت ﻛﻤﺠﻤﻮﻋــﺔ ﻣــﻦ اﻟﺤﻴـﻮات اﻟﺼﻐــرية‪،‬‬ ‫ﻓﻔــﻲ ﻛﻞ ﻟﺤﻈــﺔ أﺗﻌﻠــﻢ ﻣــﺎ ﻳﻔﻴــﺪين ﰲ‬ ‫اﻟﻠﺤﻈــﺔ اﻟﺘﺎﻟﻴــﺔ ‪ ،‬وﰲ ﻛﻞ ﻣﺤﻨــﺔ ﺗــﺄيت اﳌﻨﺤﺔ‬ ‫وﻳﻜﻤــﻦ داﺧﻠﻬــﺎ درس ﻣﺴــﺘﻔﺎد‪ ،‬وﰲ ﻛﻞ‬ ‫ﻟﺤﻈــﺔ ﻓــﺮح أﺟــﺪ أﻣــﻼ ﻗــﺪ ميــﺪين ﺑﺎﻟﺘﻔــﺎؤل‬ ‫ﻟﻠﻤﺸــﻬﺪ اﻟﺘــﺎﱄ ﻣــﻦ ﻓﺼــﻮل اﻟﺤﻴــﺎة‪.‬‬ ‫وأﺣــﺎول ﺗﻄﺒﻴــﻖ ﻫــﺬا ﻋــﲆ ﻛﺎﻓــﺔ‬ ‫اﳌﺴــﺘﻮﻳﺎت ؛ ﺣﺘــﻰ ﰲ ﻟﺤﻈــﺎت اﻷمل واﻟﻘﻠــﻖ‬ ‫‪ ،‬أﺣــﺎول أﻻ أﻓﻜــﺮ ﻓﻴــام ﻗــﺪ ﻳﻜــﻮن ﺳــﺒﺒﺎ ﰲ‬ ‫إﻧﺰﻋــﺎج أو ﻗﻠــﻖ ﻗﺒــﻞ أن ﻳﺤــني آواﻧــﻪ‪.‬‬ ‫وﻫــﺬا ﻻ ﻳﻌﻨــﻲ أﻧﻨــﻲ أﺣﻘــﻖ اﻟﻨﺠــﺎح ﰲ‬ ‫ﻫــﺬا ‪ ،‬وﻟﻜــﻦ ﻫــﺬا ﻣــﺎ ﺗﻮﺻﻠﺖ إﻟﻴــﻪ ﻷﺗﺨﺬه‬ ‫ﻛﻮﺳــﻴﻠﺔ ﻣﺮﻳﺤــﺔ ﻟﻌﻴﺶ ﻫــﺬه اﻟﺤﻴــﺎة‪.‬‬ ‫اﻟﻨﻈــﺮ ﻟﺤﻴﺎﺗﻚ ﻛﻜﺘﻠــﺔ واﺣﺪة ﻣــﻦ اﻟﻨﺠﺎح‬ ‫أو اﻟﻔﺸــﻞ ﻳــﱰﻛﻚ مبﻨﻈــﻮر ﺿﻴﻖ ﺟــﺪا وﻛﺜري‬ ‫اﻟﺘﺸــﻮش وﻳﻌﻜــﺮ ﻋﻠﻴــﻚ ﺻﻔــﻮ اﻟﺸــﻌﻮر‬ ‫ﺑﺎﻷﻣــﻞ واﻹﻋﺘﻘــﺎد ﰲ ﻣــﺎ ﻫــﻮ أﻓﻀــﻞ‪ ،‬ﻓﺘﺼﺒﺢ‬ ‫ﻣﺤﺼــﻮرا ﰲ ورﻃــﺔ اﻟﻨﺘﺎﺋــﺞ اﳌﺴــﺒﻘﺔ‪.‬‬ ‫ﻓﻘــﺪ ﺗﻔﺸــﻞ ﰲ ﻟﺤﻈــﺔ ﻣــﺎ وﺗﻜــﻮن اﻟﺘﺎﻟﻴﺔ‬ ‫ﻟﺤﻈــﺔ ﻧﻬــﻮض‪ ،‬ﻗــﺪ ﺗﺘــﺄمل اﻵن وﻟﻜــﻦ ﻫــﺬا‬ ‫ﻻ ﻳﻌﻨــﻲ أﻧــﻪ ﻳﻨﺒﻐــﻲ ﻋﻠﻴﻚ ﺣﻤــﻞ ﻫــﺬا اﻷمل‬

‫مثــل الــزواج الكاثوليكــي ال طــاق فيه‬ ‫ﻳﺘﺤﺼــﻞ ﻋــﲇ ﻗﻴﻤــﺔ اﻟﺮﻋﺎﻳــﻪ اﻟﺨﺎﺻــﻪ‬ ‫ﺑﺼــﻼح و ﻧﺴــﺒﺔ اﻟﺒﻴــﻊ ﻟــيك ﺗﺮﺗﻘــﻲ ﺑﴩﻛﺔ‬ ‫اﻟﺒﻨــﺎء اﻟﺮاﺋــﺪه ﰲ ﻣــﴫ‪.‬‬ ‫ﻣﺤﻤــﺪ اﻟﻨﻨــﻲ ﻻﻋــﺐ أرﺳــﻨﺎل اﻷﻧﺠﻠﻴﺰي‬ ‫اﻳﻀــﺎ ﻳﺴــﺎﻫﻢ ﰲ أﻧﻌــﺎش ﺧﺰاﻧــﺔ اﳌﻘﺎوﻟــﻮن‬ ‫ﻋــﻦ ﻃﺮﻳــﻖ اﻟﺮﻋﺎﻳــﻪ و ﻧﺴــﺒﺔ اﻟﺒﻴــﻊ‪،‬‬ ‫ﻓﻬــﻞ ﻓﻜﺮﻧــﺎ ﰲ ﻋــﺪد اﻟﻌﺎﻣﻠــﻮن ال ﴍﻛــﺔ‬ ‫اﳌﻘﻮﻟــﻮن اﻟﻌــﺮب ؟‬ ‫ﻧﻌــﻢ ﻳﺒﻠــﻎ ﺗﻘﺮﻳﺒــﺎ ﺳــﺒﻌﻮن اﻟــﻒ ﻋﺎﻣــﻞ‬ ‫ﺣﺴــﺐ اﳌﻮﻗــﻊ اﻟﺮﺳــﻤﻲ ﻟﻠﴩﻛــﻪ و ﻫــﺬا‬ ‫ﻋــﺪد ﻻ ﻣﺠــﺎل ﻟﻸﺳــﺘﻬﺎﻧﻪ ﺑــﻪ ﻓﻨﺤــﻦ‬ ‫ﻧﺘﺤــﺪث ﻋــﻦ ﺗﻘﺮﻳﺒــﺎ ‪ ١٤٠‬اﻟــﻒ ﻓــﺮد و‬ ‫ﻋﺎﺋﻠــﻪ ﻳﻌﺘﻤــﺪون ﻋــﲇ اﻟﻠــﻪ و اﻟﴩﻛــﻪ و‬ ‫اﳌﺮﺗــﺐ ﻣــﻦ أﺟــﻞ ﴍاء ﺷــﻘﺔ ﻓــﻮل ﻋــﲇ‬ ‫اﻟﻔﻄــﺎر او ﻗــﺮص ﻃﻌﻤﻴــﻪ ﺑﺎﻟﺴﻤﺴــﻢ ﻣــﻊ‬ ‫ﻗﺒﻠــﻪ ﻋــﲇ ﻇﻬــﺮ اﻟﻴﺪﻳــﻦ و ﺣﻤــﺪ اﳌــﻮﱄ‬ ‫ﻋــﲇ ﻧﻌﻤــﻪ اﻟﺘــﻲ ﺗﻌــﺪ وﻻ ﺗﺤــﴢ‪.‬‬ ‫و ﻣــﻦ اﳌﺆﻛــﺪ ان اﻟﻘﻴــﺎده اﻟﺴﻴﺎﺳــﻴﻪ‬ ‫اﻟﺤﺎﻟﻴــﻪ ﺗــﺪرك أﻫﻤﻴــﺔ ﻛــﺮة اﻟﻘــﺪم ﻟﻸﻣــﻦ‬ ‫اﻟﻘﻮﻣــﻲ ﺧﺎﺻــﺔ ﺑﻌــﺪ ﻣﺠــﺰرة ﺑﻮرﺳــﻌﻴﺪ‬ ‫اﻟﺪاﻣﻴــﻪ ﻋــﺎم ‪ ٢٠١٢‬اﻟﺘــﻲ راح ﺿﺤﻴﺘﻬــﺎ‬ ‫اﻟﻌﺪﻳــﺪ ﻣــﻦ اﻟﺸــﺒﺎب اﻟﻄﻤــﻮح ﻣــﻦ‬ ‫ﺟﻤﻬــﻮر اﻟﻨــﺎدي اﻷﻫــﲇ‪.‬‬ ‫ﻓﺒﻌــﺪ اﳌﺠــﺰره ﺗﻮﻗــﻒ اﻟﻨﺒــﺾ و دﺧﻠﺖ‬ ‫اﻟﺮﻳﺎﺿــﻪ اﳌﴫﻳــﻪ ﻏﺮﻓــﺔ اﻟﻌﻨﺎﻳــﻪ اﳌﺮﻛــﺰه‬ ‫ﺣﺘــﻲ اﺳــﺘﻔﺎﻗﺖ ﻣﺆﺧــﺮا ﻣــﻊ ﺣﺎﻟــﺔ‬ ‫اﻷﺳــﺘﻘﺮار اﻟﺤﺎﻟﻴــﻪ ﰲ اﻟﺒــﻼد‪ .‬اﻷن ﻋــﺎد‬ ‫أﺳــﺘﺎد اﻟﻘﺎﻫــﺮه ﻟﻠﻨﻮر و اﺳــﺘﻘﺒﺎل اﻟﺠامﻫري‬ ‫ﰲ اﳌﺤﺎﻓــﻞ اﳌﺤﻠﻴــﻪ و اﻟﺪوﻟﻴــﻪ و ﻋــﺎدت‬ ‫ﻣﻨﺎﻓﺴــﺎت اﻟــﺪوري اﻟﻌــﺎم و اﺷــﺘﺪت‬ ‫ﺣـﺮارة اﳌﻨﺎﻓﺴــﻪ ﺑــني اﻷﻧﺪﻳــﻪ اﻟﺠامﻫريﻳﻪ‪،‬‬ ‫ﻋــﺎد اﻷﻫــﲇ ﻟﻴﻔــﻮز ﻟﻴﻔــﺮح ﺟﻤﻬــﻮره‪،‬‬ ‫ﻋــﺎد اﻟﺰﻣﺎﻟــﻚ و أﻓﺘﺘــﺢ ﻣﺪرﺳــﺔ اﻟﻔــﻦ و‬ ‫اﻟﻬﻨﺪﺳــﻪ ﻛــام ﻳﻠﻘﺒﻮﻧــﻪ ‪ ،‬ﻋــﺎد اﻷﺳــامﻋﻴﲇ‬ ‫ﻟﻴﻌــﺰف ﻟﺤــﻦ ﻋــﲇ أﻧﻐــﺎم اﻟﺴﻤﺴــﻤﻴﻪ‬ ‫وﻋــﺎد › ﺳــﻴﺪ اﻟﺒﻠــﺪ‹ اﻷﺗﺤــﺎد اﻟﺴــﻜﻨﺪري‬ ‫اﱄ أﺣﻀــﺎن ﺷــﻌﺐ اﻷﺳــﻜﻨﺪرﻳﻪ اﻟﺠﻤﻴــﻞ‬ ‫و اﳌﻔﺄﺟــﺎه اﻟﻜــﱪي ﻫــﻲ ﻋــﻮدة أﺑﻨــﺎء‬ ‫ﺑﻮرﺳــﻌﻴﺪ اﻟﺒﺎﺳــﻠﻪ اﻟﻨــﺎدي اﳌــﴫي ﻟﻠﻌــﺐ‬ ‫ﻋــﲇ اﺳــﺘﺎد ﺑﻮرﺳــﻌﻴﺪ ‪.‬‬ ‫آﺧــريا ﻋــﺎدت اﻟﺤﻴــﺎه ﻟﺒﻮرﺳــﻌﺪ ﻳــﻮم‬ ‫اﻟﻌــﺎﴍ ﻣــﻦ ﻓﱪاﻳــﺮ ﺑﻌــﺪ اﻧﻘﻄــﺎع ﺗــﺎم‬ ‫ﻣﻨــﺬ ﻓرياﻳــﺮ ‪ ٢٠١٢‬و ﻟﻌــﺐ اﳌــﴫي‬ ‫ﻛﺎﻣــﻞ اﻟﻌــﺪد ﻻﻋﺒــني و ﺟامﻫــري ﰲ اﺳــﺘﺎد‬ ‫ﺑﻮرﺳــﻌﻴﺪ و ﻫــﺰم ﺟﺮﻳــﻦ ﺑﺎﻓﺎﻟــﻮز اﻟﺰاﻣﺒــﻲ‬ ‫‪ ٠-٤‬ﰲ أﻣﺴــﻴﻪ ﻛﺮوﻳــﻪ ﻟــﻦ ﻳﻨﺴــﺎﻫﺎ أﺑﻨــﺎء‬ ‫ﻣﺤﺎﻓﻈــﺔ ﺑﻮرﺳــﻌﻴﺪ ﺣﻴﺚ ﺷــﺎﻫﺪوا ﻓﺮﻳﻘﻢ‬ ‫ﰲ اﺳــﺘﺎد ﺑﻮرﺳــﻌﻴﺪ اﻟﺘﺎرﻳﺨــﻲ ﻳﻠﻌــﺐ ﺑﻌﺪ‬ ‫ﺣﺎﻟــﺔ ﺟﻔــﺎف داﻣــﺖ ﻷﻛــرث ﻣــﻦ ﺳــﺖ‬ ‫ﺳــﻨﻮات‪.‬‬ ‫اﳌﺒــﺎراة ﺧﺮﺟــﺖ ﺗﻨﻈﻴﻤﻴﺎ ﺑﺄﻓﻀﻞ ﺷــﻜﻞ‪،‬‬ ‫وزارة اﻟﺪاﺧﻠﻴــﺔ و اﻟﻘﻴــﺎده اﻟﻌﺴــﻜﺮﻳﻪ‬ ‫ﻣﺘﻤﺜﻠﻪ ﰲ اﻟﺠﻴﺶ اﻟﺜﺎين اﳌﻴﺪاين اﺳــﺘﻄﺎﻋﻮا‬ ‫ﺗﺄﻣــني اﳌﺒــﺎره ﻣــﻦ اﻟﺨــﺎرج و اﻟﺪاﺧﻞ ﺣﺘﻲ‬ ‫ﻻ ﻳﺤــﺪث ﻣــﺎ ﻻ ﻳﺤﻤــﺪ ﻋﻘﺒــﺎه ‪.‬‬ ‫ﻛﻞ ﻫــﺬا ﺳــﺎﻋﺪ ﰲ ﺧﻠــﻮد ﻣﺤﺎﻓﻈــﻪ‬ ‫ﻛﺒــريه ﰲ اﻟﻨــﻮن ﻟــيك ﺗﺘﺬﻛــﺮ ﻫــﺬا اﻟﻴــﻮم‬ ‫اﻟﺘﺎرﻳﺨــﻲ اﻟــﺬي اﻋــﺎد ﻟﻬــﻢ اﻟﺒﺴــﻤﻪ و‬ ‫اﻟﺤﻴــﺎه‪.‬‬ ‫ﻫــﻞ ﻧﻌﻠــﻢ ﻛﻴــﻒ ﺗﺄﺛــﺮت اﻷﻧﺪﻳــﻪ و‬ ‫اﻟﻌﺎﻣــني ﻣــﻦ ﻓــﱰة اﻟﺮﻛــﻮض اﻟﻜــﺮوي؟‬ ‫اﻟﻜﺜــري و ﻗــﺪ ﺗــﻢ ﻃــﺮد اﻟﻜﺜــري ﻣــﻦ‬ ‫اﻟﻌﺎﻣﻠــني ﰲ اﻟﺴــﺎﺑﻖ ﺣﻴــﺚ ان اﳌﺒﺎرﻳــﺎت‬ ‫ﺗﻘــﺎم ﺑــﺪون ﺟﻤﻬــﻮر و ﻛﺎﻧــﺖ ﻻ ﺗﻜﺘﻤــﻞ‬ ‫اي ﺑﻄﻮﻟــﻪ ﻧﻈــﺮا ﻟﻸﺣــﺪاث اﻟﺴﻴﺎﺳــﻴﻪ‬ ‫اﻟﺴــﺎﺧﻨﻪ‪.‬‬ ‫ﻛﻤﺜــﺎل ﺷــﻌﺐ ﺑﻮرﺳــﻌﻴﺪ اﻟﺒﻌﻴــﺪ ﻋــﻦ‬ ‫اﻟﺘﺸــﺠﻴﻊ ﺗــﴬر ﻣــﻦ ﺣﺎﻟــﺔ اﳌﻘﺎﻃﻌــﻪ‬ ‫ﺑﻌــﺪ اﳌﺠــﺰره ﺣﺘــﻲ أن اﻣــﺪادات اﻟﻐــﺬاء‬ ‫و اﻟـﴩاب ﻛﺎﻧــﺖ ﻻ ﺗﺼــﻞ و ﻛﺎن اﳌﻤﻜــﻦ‬ ‫ان ﻳﺨﻠــﻖ ﻫــﺬا اﻟﻌﺪﻳــﺪ ﻣــﻦ اﻷزﻣــﺎت‪،‬‬ ‫ﻟﻜــﻦ ﺑﻔﻀــﻞ اﻟﻠــﻪ و اﻟﺠﻬــﻮد اﳌﺒﺬوﻟــﻪ ﻣﻦ‬ ‫اﻟﻘﻴــﺎده اﻟﺴﻴﺎﺳــﻴﻪ ﺗــﻢ اﻓﺘﺘــﺎح اﻷﺳــﺘﺎد ﰲ‬ ‫ﺑﻮرﺳــﻌﻴﺪ ﻣــﻦ ﺟﺪﻳــﺪ ﺑﻌــﺪ ﺗﻄﻮﻳــﺮه و ﺗــﻢ‬ ‫ﺗﺄﻣــني ﺟﻤﻴــﻊ ﻣﺪاﺧــﻞ و ﻣﺨﺎرج اﺳــﺘﺎدات‬ ‫ﻣــﴫ ﺣﺘــﻲ اﺻﺒﺤــﺖ ﺗﺴــﺘﻀﻴﻒ ﻟﻘﺎﺋــﺎت‬ ‫اﻟﺰﻣﺎﻟــﻚ و اﻷﻫــﲇ اﻓﺮﻳﻘﻴــﺎ ﺑﺴــﻌﻪ ﻻ ﺗﻘــﻞ‬ ‫ﻋــﻦ ﻋــﴩون اﻟــﻒ ﻣﺘﻔــﺮج ﰲ اﳌﺒــﺎراه‪.‬‬ ‫ﻋــﺎدوا اﻟﻨــﺎس ﺑﻘﻀــﻞ اﻟﻠــﻪ و ﻋــﺎد‬ ‫ﺑﻮﺳــﺘﺎت اﳌﻨﺎﻓﺴــﻪ ﰲ اﻟﺴﻮﺷــﺎل ﻣﻴﺪﻳﺎ ﺑني‬ ‫اﻟﺠامﻫــري ﰲ اﻃــﺎر ﺗﻨﺎﻓــﴘ ﺷــﺪﻳﺪ ﻟﻴﻐﻠــﻖ‬ ‫ﺻﻔﺤــﻪ اﻟﻄــﻼق ﺑــني اﻟﺪوﻟــﻪ و ﻛــﺮة اﻟﻘﺪم‬ ‫و أوﻛــﺪ ﻣﻘﻮﻟــﺔ ﻋﺜــامن ﺑﺎﺷــﺎ ﻟﻜــﻦ ﻣــﻊ‬ ‫ﺑﻌــﺾ اﻟﺘﻌﺪﻳــﻼت‪.‬‬ ‫»اﻟﻌﻼﻗــﺔ ﺑــني اﻷﻣــﻦ اﻟﻘﻮﻣــﻲ اﳌــﴫي‬ ‫و اﻟﺮﻳﺎﺿــﻪ ﻣﺜــﻞ اﻟــﺰواج اﻟﻜﻮﺛﻴﻠﻴــيك ﻻ‬ ‫ﻃــﻼق ﻓﻴــﻪ ﻣــﻦ أﺟــﻞ ﻧﻬﻀــﻪ ﻛﺮوﻳــﻪ‬ ‫ﺟﺪﻳــﺪه« ﺷــﻜﺮ واﺟــﺐ ﻣــﻦ أﻧــﺎ ﺷــﺨﺼﻴﺎ‬ ‫ﻋــﲇ ﻛﻞ ﻣــﻦ أﻋــﺎد ﱄ روﺣــﻲ ﰲ ﺗﺸــﺠﻴﻊ‬ ‫ﻛــﻮرة اﻟﻘــﺪم و اﻷﺳــﺘﻤﺘﺎه ﺑﻬــﺎ ﺑــﺪون‬ ‫ﺗﻌﺼــﺐ اﻋﻤــﻲ‪.‬‬


‫فــن وأدب | ‪٣‬‬

‫اﻷﺣﺪ ‪ ٤‬ﻣﺎرس‪٢٠١٨ ،‬‬

‫مـــعرض نـــقاط ال خطوط حمراء‪ :‬االنسجام بــــني الروح والكلمة والـخط‬ ‫تقرير‪ :‬هبة عبدالوهاب‬

‫ﺗﺒــﺪأ ﻓﻌﺎﻟﻴــﺎت ﻣﻌــﺮض ﻧﻘــﺎط ﻻ ﺧﻄــﻮط‬ ‫ﺣﻤـﺮاء ﺑﺎﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ ﺑﺎﻟﻘﺎﻫــﺮة ﰲ‬ ‫ﻣﺤﺎوﻟــﺔ ﻹﺣﻴــﺎء وﺗﻄﻮﻳــﺮ اﻟﺨــﻂ واﻹرث‬ ‫اﻷديب واﻟﺜﻘــﺎﰲ ﻟﻠﺨــﻂ اﻟﻌــﺮيب وإﺧﺮاﺟــﻪ‬ ‫ﻣــﻦ داﺋــﺮة اﻟﺘﻘﻠﻴــﺪ واﻟﻨﻤﻄﻴــﺔ إﱃ أﺷــﻜﺎل‬ ‫ﻣﺴــﺘﺤﺪﺛﺔ‪.‬‬ ‫أﺳــﺲ اﳌﻌــﺮض ﺑﺮﻋﺎﻳــﺔ ﻧﺠــﻼء ﺳــﻤري‪،‬‬ ‫أﺳــﺘﺎذ ﻣﺸــﺎرك ﰲ ﻣامرﺳــﺔ اﻟﺘﺼﻤﻴــﻢ‬ ‫اﻟﺠﺮاﻓﻴــيك ﰲ اﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ‬ ‫ﺑﺎﻟﻘﺎﻫــﺮة‪ ،‬ﻟﻌــﺮض أﻋــامل ﻣﻨــري اﻟﺸــﻌﺮاين‪.‬‬ ‫ﻳﻌــﺪ ﻣﻨــري اﻟﺸــﻌﺮاين ﻓﻨــﺎن وﻣﺼﻤــﻢ‬ ‫اﻟﺨــﻂ اﻟﻌــﺮىب اﳌﻌــﺎﴏ‪ ،‬اﻟــﺬي ﻧﺠــﺢ ﰲ‬ ‫ﺗﻮﻇﻴــﻒ اﻷﺷــﻜﺎل اﻟﺘﺠﺮﻳﺪﻳــﺔ واﻟﺠامﻟﻴــﺔ‬ ‫ﻟﻠﺨﻄــﻮط‪ ،‬واﻟﺨــﺮوج ﺑﻠﻮﺣــﺎت ﻓﻨﻴــﺔ‬ ‫ﻣﻌــﺎﴏة ﻣﺸــﻐﻮﻟﺔ ﺑﺪﻣــﺞ زﻣﻨــﻲ وﺑﴫي‪،‬‬ ‫وﻗــﺪرة ﻋﺎﻟﻴــﺔ ﻋــﲆ اﻟﺒﻨــﺎء اﻟﻬﻨــﺪﳼ‪.‬‬ ‫ﺑﺨــﻼف اﻟﻠﻮﺣــﺎت اﻟﺨﻄﻴــﺔ ﳌﻨــري‬ ‫اﻟﺸــﻌﺮاىن‪ ،‬مل ﺗﺤــ َﻆ إﺳــﻬﺎﻣﺎﺗﻪ اﳌﺘﻤﻴــﺰة‬ ‫ﰲ ﻣﺠــﺎﻻت اﻟﺘﺼﻤﻴــﻢ اﻟﺠﺮاﻓﻴــيك ﻋــﲆ‬ ‫ﺗﻨﻮﻋﻬــﺎ ﺑﻨﻔــﺲ اﻻﻧﺘﺸــﺎر واﻟﺸــﻬﺮة‪ ،‬ﻗــﺪ‬ ‫ﻳﻜــﻮن ﻫــﺬا ﻷن ﻏﺎﻟﺒﻴــﺔ ﺗﺼﺎﻣﻴﻤــﻪ إﻣــﺎ‬ ‫ﻏــري ﻣﻮﻗﻌــﺔ أو ﻧــﴩت ﺗﺤــﺖ اﺳــﻢ‬ ‫ﺣﺮيك«ﻋــامد ﺣﻠﻴــﻢ«‪ .‬وﻗــﺪ ﻗــﺎد ﻣﻨــري‬ ‫اﻟﻌﺪﻳــﺪ ﻣــﻦ اﻟﺨﻄــﻮط اﻟﺤﻤـﺮاء ﺑﻌــﺪ أن‬ ‫ﻗــﺎد ﺣﻴــﺎة اﻟﺘﻐﻴــري ﻣﻦ اﻟﻨﺸــﺎط اﻟﺴــﻴﺎﳼ‬ ‫واﻻﺟﺘامﻋــﻲ‪ .‬وﻗــﺪ أدى ذﻟــﻚ إﱃ رﺣﻠــﺔ‬ ‫ﳌــﺪة أرﺑﻌــﺔ ﻋﻘــﻮد ﻣــﻦ اﳌﻨﻔــﻰ‪ ،‬وأﻧﺘــﺞ‬ ‫ﺧﻼﻟﻬــﺎ ﻣﺠﻤﻮﻋــﺔ ﻏﻨﻴــﺔ ﻣــﻦ اﻟﺴــﻴﻨﺎرﻳﻮ‪،‬‬ ‫ﴍﻛــﺔ وﺗﺼﺎﻣﻴــﻢ اﻟﺘﺤﺮﻳــﺮ‪.‬‬ ‫اﺳــﺘﻀﺎف ﻗﺴــﻢ اﻟﻔــﻦ داﺧــﻞ ﻣﻌــﺮض‬ ‫اﻟﺸــﺎرﻗﺔ ﺑﺎﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ‪ ،‬ﻳــﻮم‪١٨‬‬ ‫ﻣــﻦ ﻓﱪاﻳــﺮ ﺣﺘــﻰ ‪ ٨‬ﻣــﻦ ﻣــﺎرس‬ ‫ﻳﺤﺘــﻮي اﳌﻌــﺮض ﻋــﲆ أﻫــﻢ أﻋــامل‬ ‫اﻟﺸــﻌﺮاين ﻣﻨﺬ اﻟﺴــﺒﻌﻴﻨﻴﺎت ﺣﺘــﻰ اﻟﻮﻗﺖ‬ ‫اﻟﺤــﺎﴐ ﻣﺴــﻠﻄًﺎ اﻟﻀــﻮء ﻋــﲆ أﻋامﻟــﻪ‬ ‫اﻹﺑﺪاﻋﻴــﺔ وﺗﺠﺮﺑﺘــﻪ اﻟﺠﺮاﻓﻴﻜﻴــﺔ وأﻫــﻢ‬ ‫ﻣﺤﻄــﺎت ﺣﻴﺎﺗــﻪ اﻟﺘــﻲ أﺛــﺮت ﻋــﲆ‬ ‫أﻳﺪﻳﻮﻟﻮﺟﻴﺎﺗــﻪ وﺷــﻜﻠﺖ ﻓﻨــﻪ وأﻟﻬﻤــﺖ‬ ‫ﻟﻮﺣﺎﺗــﻪ‪.‬‬ ‫ﺿــﻢ اﳌﻌــﺮض ﻟﻮﺣــﺎت ﻣﺘﻌــﺪدة‬ ‫وﻣﺨﺘﻠﻔــﺔ ﺣﻴــﺚ دﻣــﺞ اﻟﺸــﻌﺮاين‬ ‫ﰲ ﻟﻮﺣﺎﺗــﻪ اﻟﺸــﻌﺮ اﻟﻌــﺮيب اﻟﻘﺪﻳــﻢ‬ ‫واﻟﺤﺪﻳــﺚ‪ ،‬وﺑﻌــﺾ اﻟﺘﺼــﻮف‪ ،‬واﻷﻗــﻮال‬

‫اﻟﺪﻳﻨﻴــﺔ‪ ،‬واﻷﻣﺜــﺎل اﻟﺴــﺎﺋﺮة‪ ،‬ﺗﻌﺘﻤــﺪ‬ ‫ﻟﻮﺣﺎﺗــﻪ ﻋــﲆ اﻟﺨﻄــﻮط اﻟﻌﺮﺑﻴــﺔ ﺑﺎﻟﺘﻮﻋﻴﺔ‬ ‫واﻟﺘﺸــﺠري واﻟﺰﺧﺮﻓــﺔ‪.‬‬ ‫وﺛﺎﺋﻘــﻰ ﺑﺎﻟــﺪور‬ ‫ﻳﺘــﻢ ﻋــﺮض ﻓﻴﻠــﻢٍ‬ ‫ﱟ‬ ‫اﻟﺜــﺎين ﻟﻠﻤﻌــﺮض ﻋــﻦ ﺗﺎرﻳــﺦ اﻟﺸــﻌﺮاين‬ ‫واﻟﺼﻌﻮﺑــﺎت اﻟﺘــﻲ ﻣــﺮ ﺑﻬــﺎ ﺧــﻼل رﺣﻠﺘــﻪ‬ ‫ﳌــﻦ ﻳﺤــﺐ اﻟﺘﻌــﺮف ﻋــﲆ رﺣﻠﺘــﻪ اﻟﻔﻨﻴــﺔ‬ ‫أﻛــرث واﻟﺘﻄﻠــﻊ ﻟﻺﻟﻬــﺎم ﰲ ﻫــﺬه اﻷﻋــامل‪.‬‬ ‫ﻗﺎﻟــﺖ ﻧﺠــﻼء ﺳــﻤري‪ ،‬أﺳــﺘﺎذ ﻣﺸــﺎرك‬ ‫ﰲ ﻣامرﺳــﺔ اﻟﺘﺼﻤﻴــﻢ اﻟﺠﺮاﻓﻴــيك ﰲ‬ ‫اﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ ﺑﺎﻟﻘﺎﻫــﺮة واﳌﺴــﺌﻮﻟﺔ‬ ‫ﻋــﻦ اﳌﻌــﺮض‪ «،‬ﻳﻌــﺮض اﳌﻌــﺮض أﻋــامل‬ ‫اﻟﺸــﻌﺮاين ﻣﻨــﺬ أن ﻛﺎن ﻃﺎﻟ ًﺒــﺎ ﺟﺎﻣﻌ ٍّﻴــﺎ‬ ‫ﻋــﺎم ‪١٩٧٤‬وﻣﺸــﺎرﻳﻌﻪ اﻟﺼﻐــرية ﺣﺘــﻲ‬ ‫أﺑــﺮز اﻋامﻟــﻪ اﻟﻌﺎﳌﻴــﺔ«‪.‬‬ ‫ﺗﻨﻮﻋــﺖ اﻟﻠﻮﺣــﺎت ﻣــﺎ ﺑــني اﻵﻳــﺎت‬ ‫اﻟﻘﺮآﻧﻴــﺔ‪ ،‬اﻟﺤﺪﻳــﺚ اﻟﴩﻳــﻒ‪ ،‬اﻷﻣﺜــﺎل‬ ‫وأﻗــﻮال اﻟﻔﻼﺳــﻔﺔ واﻟﺤﻜــﻢ واﻷﺷــﻌﺎر‪ ،‬ﻛام‬ ‫ﺿﻤــﺖ ﻣﺤــﺎﻛﺎة ﻟﻠﻮﺿــﻊ اﻟﺴــﻮري اﻟﺮاﻫﻦ‬ ‫ﺑﻌﺒــﺎرات ﺣﺮوﻓﻴــﺔ ﻣﻨﺘﻘــﺎة ﺑﻌﻨﺎﻳــﺔ‪.‬‬ ‫أوﺿــﺢ اﻟﺸــﻌﺮاين أن اﻟﺸــﻐﻒ دﻓﻌــﻪ‬ ‫ﻟﻠﺘﻌﻠــﻢ وﺗﻄﻮﻳــﺮ ﻣــﺎ ﺗﻌﻠﻤــﻪ ﺣﻴــﺚ ﻗﺎدﺗﻪ‬ ‫أﺑﺤﺎﺛــﻪ وﻣﺤﺎوﻻﺗــﻪ اﳌﺴــﺘﻤﺮة إﱃ متﻠــﻚ‬ ‫أﺳــﻠﻮب ﺧــﺎص ﻟــﻪ ﻳﺤــﺮره ﻣــﻦ ﺟﻤــﻮد‬ ‫اﻟﺨــﻂ اﻟﻌــﺮيب‪ .‬ومتﻜــﻦ أﻳﻀً ــﺎ ﻣــﻦ ﺧــﻼل‬ ‫ﺑﺤﺜــﻪ اﻟﺪاﺋــﻢ أن ﻳﺘﻮﺻــﻞ ﻟﺼﻴﺎﻏــﺎت‬ ‫ﻓﺮﻳــﺪة ﻣﻤﻴــﺰة ﻷﺳــﻠﻮﺑﻪ‪ ،‬ﺗﺘﺨﻄــﻰ رﺗﺎﺑــﺔ‬ ‫اﻟﺘﻘﻠﻴــﺪ‪.‬‬ ‫ﻟﺬﻟــﻚ‪ ،‬ﻓــﺈن أﻋــامل اﻟﺸــﻌﺮاين ﺗﻌﻤــﻞ‬ ‫ﻋــﲇ إﺣﻴــﺎء وﺗﻄﻮﻳــﺮ اﻟﺨــﻂ اﻟﻌــﺮيب‬ ‫وإن اﻹﴏار واﻟﺒﺤــﺚ واﻹﺧــﻼص أﻣــﻮر‬ ‫ﴐورﻳــﺔ ﻟﻴﺼﺒــﺢ اﻹﻧﺴــﺎن ﺧﻄﺎﻃًــﺎ‬ ‫وﻓﻨﺎﻧًــﺎ‪.‬‬ ‫وأﻛــﺪ اﻟﺸــﻌﺮاين أﻫﻤﻴــﺔ اﻟﻌــﻮدة‬ ‫إﱃ ﻧﻈــﺮة وﻓﻬــﻢ دور اﻟﺨــﻂ اﻟﻌــﺮيب‬ ‫ووﻇﻴﻔﺘــﻪ اﻟﺠامﻟﻴــﺔ اﻟﺘــﻲ ﺗﺮﺗﺒــﻂ ﺑﺄﻣــﻮر‬ ‫ﻛﺜــرية ﰲ ﺣﻴﺎﺗﻨــﺎ‪ ،‬وﻻ ﺑــﺪ ﻣــﻦ إزاﻟــﺔ‬ ‫اﻟﺠﻤــﻮد واﻟﺠﻬــﻞ واﻟﺴــﻠﻔﻴﺔ واﻟﻜﺴــﻞ‬ ‫اﻟﻌﻘــﲇ اﻟــﺬي أﺻﺒــﺢ ﻓﻴــﻪ اﳌﺠﺘﻤــﻊ‬ ‫ﺗﺠــﺎه اﻟﺨــﻂ اﻟﻌــﺮيب وﻳﺠــﺐ أن ﻳــﺪرك‬ ‫اﳌﻮﻫﻮﺑــﻮن ﻣــﻦ اﻟﺨﻄﺎﻃــني ذواﺗﻬــﻢ‬ ‫وﺧﺼﻮﺻﻴﺎﺗﻬــﻢ وﺣﺎﴐﻫــﻢ ﻟــيك ﻳﺘﺤﺮروا‬ ‫وﻳﺤــﺮروا اﻟﺨــﻂ اﻟﻌــﺮيب‪.‬‬ ‫ﻗــﺎل اﻟﺸــﻌﺮاين‪» ،‬إن اﻟﻔﻨــﺎن ﻻ ﻳﻄﻠــﻖ‬ ‫ﻋﻠﻴــﻪ ﻓﻨﺎﻧًــﺎ ﺣﺘــﻲ ﻳﺼﺒــﺢ ﻟﺪﻳــﻪ ﺷــﺨﺼﻴﺔ‬

‫اﻟﻔﻨﺎن ﻣﻨري اﻟﺸﻌﺮاين مبﻌﺮض ﻧﻘﺎط ﻻ ﺧﻄﻮط ﺣﻤﺮاء‬

‫واﺿﺤــﻪ ﻣــﻦ ﺧــﻼل ﻟﻮﺣﺎﺗــﻪ أو ﺑﺼﻤــﺔ‬ ‫ﻣﻌﺮوﻓــﺔ وإمنــﺎ ﻏــري ذﻟــﻚ ﻓﻬــﻮ زاﺋــﻒ‪,‬‬ ‫ﻟﺬﻟــﻚ ﻛﺮﺳــﺖ دراﺳــﺘﻲ و ﻃﻮرﺗﻬــﺎ‬ ‫وﺗﻌﺮﻓــﺖ ﻋــﲆ اﻷﻋــامل اﻟﺴــﺎﺑﻘﺔ ﻟﻠﻘﻴــﺎم‬ ‫ﺑﻠﻮﺣــﺎت ﻏــري ﻣﺴــﺒﻮﻗﺔ ﺗﺘﺴــﻢ ﺑﺄﺳــﻠﻮىب‬ ‫اﻟﺨــﺎص«‪.‬‬ ‫أﺿﺎﻓــﺖ ﺳــﻤري‪» ،‬أﺷــﺠﻊ ﻃــﻼيب ﻋــﲆ‬ ‫اﻟﺤﻀــﻮر ﺣﺘــﻰ ﻳﺘﻌﻠﻤــﻮا اﻟﺘﺎرﻳــﺦ اﻟﻌــﺮيب‬ ‫ﻟﺘﺼﻤﻴــﻢ اﻟﺮﺳــﻮم اﻟﺒﻴﺎﻧﻴــﺔ اﻟﺘــﻲ ﻟﻴﺴــﺖ‬ ‫ﻣﻮﺛﻘــﺔ ﺑﺸــﻜﻞ ﺟﻴــﺪ ﻟﻠﻐﺎﻳــﺔ وﻣــﻦ اﻟﺠﻴﺪ‬ ‫أن ﻳﺘﻌﻠﻤــﻮا ﻣــﻦ اﳌﺼﻤﻤــني ﺗﻄــﻮر اﻟﻔــﻦ‬

‫ﺣﻠﻴﻢ اﻟﺸﻌﺮاين‬

‫ﻗﺒــﻞ ﺗﺤﻮﻟــﻪ ﺑﺎﻟﺘﻜﻨﻮﻟﻮﺟﻴــﺎ واﺳــﺘﺨﺪام‬ ‫اﻷدوات اﳌﺘﻮﻓــﺮة ﰲ ذﻟــﻚ اﻟﻮﻗــﺖ«‪.‬‬ ‫ﻗــﺎل ﻣﺤﻤــﺪ اﻟﺴــﺒﻊ‪ ،‬ﻃﺎﻟــﺐ ﺑﺎﻟﺘﺼﻤﻴــﻢ‬ ‫اﻟﺠﺮاﻓﻴــيك ﺑﺎﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ‪» ،‬أﺗﻴــﺖ‬ ‫ﻟﻠﻤﻌــﺮض ﺑﻨــﺎء ﻋــﲇ ﺗﺮﺷــﻴﺢ ﻣﻦ أﺳــﺘﺎذي‬ ‫وﺣﻘﻴﻘـ ًﺔ أﺣﺒﺒــﺖ ﻟﻮﺣــﺎت اﻟﻄﺒﺎﻋــﺔ ﺟـﺪٍّا‬ ‫واﻟﺘﺼﻤﻴــامت اﳌﺒﻬــﺮة«‪.‬‬ ‫ﻗﺎﻟــﺖ ﻧــﺪى ﻛﺎردش‪ ،‬ﻃﺎﻟﺒــﺔ ﺑﺎﻟﺘﺼﻤﻴــﻢ‬ ‫اﻟﺠﺮاﻓﻴــيك ﺑﺎﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ‪» ،‬إن‬ ‫أﻋــامل اﻟﺸــﻌﺮاين ﺗﻮﺿــﺢ اﻟﺘﻘﻨﻴــﺔ اﻟﻌﺎﻟﻴــﺔ‬ ‫اﳌﺴــﺘﺨﺪﻣﺔ ﰲ اﻟﻠﻮﺣــﺎت أﻳﻀً ــﺎ روﻋــﺔ‬

‫اﻟﺮﺳــﺎﺋﻞ اﳌﻨﺸــﻮدة ﻣــﻦ ﺧــﻼل ﻓﻨــﻪ ﳾء‬ ‫أﻛــرث ﻣــﻦ راﺋــﻊ«‪.‬‬ ‫ﻳﺤﻔــﺰ اﻟﺸــﻌﺮاين اﻟﺘﻌﻠــﻢ وإﺗﻘــﺎن ﻓــﻦ‬ ‫اﻟﺴــﺎﺑﻘني ﻟﻴــﺲ ﻋــﲆ ﻣﺴــﺘﻮى ﺗﻌﻠــﻢ‬ ‫اﻟﺨﻄــﻮط اﻟﺘﻘﻠﻴﺪﻳــﺔ ﻓﺤﺴــﺐ‪ ،‬ﺑــﻞ ﻋــﲆ‬ ‫ﻣﺴــﺘﻮى إدراك أن إﺗﻘﺎﻧﻬــﺎ ﻟﻴــﺲ ﻏﺮﺿً ــﺎ‬ ‫ﰲ ﺣــﺪ ذاﺗــﻪ‪ ،‬ﺑــﻞ ﻫــﻮ أﻳﻀً ــﺎ ﺧﻄــﻮة‬ ‫ﴐورﻳــﺔ ﺗﺆﻫــﻞ اﳌﺒــﺪع ﻟﺘﺠﺎوزﻫــﺎ‬ ‫واﻹﺿﺎﻓــﺔ إﻟﻴﻬــﺎ‪ .‬ﻓﻘــﺪ ﺗﺄﺛــﺮ اﻟﺸــﻌﺮاين‬ ‫ﺑﻔــﻦ أﺳــﺘﺎذه ﻛﺒــري ﺧﻄﺎﻃــﻲ اﻟﺸــﺎم‬ ‫اﻟﻔﻨــﺎن ﺑــﺪوي اﻟﺪﻳــﺮاين‪ ،‬اﻟــﺬي ﺗﺘﻠﻤــﺬ‬

‫ﻋــﲆ ﻳــﺪه‪ ،‬ﻛــام درس اﻟﺸــﻌﺮاين ﺧﺼﺎﺋــﺺ‬ ‫ﻛﻞ ﻧــﻮع ﻣــﻦ أﻧــﻮاع اﻟﺨﻄــﻮط اﻟﺘﻲ رﺳــﻢ‬ ‫ﺑﻬــﺎ ﻟﻮﺣﺎﺗــﻪ‪ ،‬وﻋــﺪل ﰲ ﻧﺴــﺒﻬﺎ ﻣﺒﺘﻜــ ًﺮا‬ ‫أﺷــﻜﺎﻻً ﻣﺘﻌــﺪدة ﺑﺄﺳــﻠﻮب ﻓﺮﻳــﺪ ﻣــﻦ‬ ‫ﻧﻮﻋــﻪ‪.‬‬ ‫ﻳــﺮى اﻟﺸــﻌﺮاين أﻧــﻪ ﻻﺑــﺪ ﻣــﻦ اﻟﺒﺤــﺚ‬ ‫ﻋــﻦ اﻻرﺗﻘــﺎء ﺑﺎﻟــﺬوق ﻧﺤــﻮ اﻷﻓﻀــﻞ‬ ‫وﺗﻘﺪﻳــﻢ ﻣــﺎ ﻟــﻪ اﻷﺛــﺮ اﻹﻳﺠــﺎيب ﻋــﲆ‬ ‫اﳌﺴــﺘﻘﺒﻞ وأﻳﻀً ــﺎ ﻋــﲆ اﻟﻔﻨــﺎن إﻳﺠــﺎد‬ ‫ﻣﻨﺎﻓــﺬ ﻟﻠﺘﻌﺒــري ﻋــﲆ رﻏــﻢ ﻛﻞ اﻟﻈــﺮوف‬ ‫اﳌﺤﻴﻄــﺔ ﺑــﻪ‪.‬‬

‫ظــــهور ســــاحة أكــــبر لـــمنافسة الـــبرامج الـجامـــعية عـــلى يـــد «سبوطايا»‬

‫ﺷﻌﺎر اﻟﱪﻧﺎﻣﺞ اﻟﻄﻼيب اﻹذاﻋﻲ اﻟﺠﺪﻳﺪ ﺑﺎﻟﺠﺎﻣﻌﺔ ﻣﻦ ﺻﻔﺘﺤﻬﻢ ﻋﲆ ﻣﻮﻗﻊ اﻟﺘﻮاﺻﻞ اﻹﺟﺘامﻋﻲ ﻓﻴﺴﺒﻮك‬ ‫تقرير‪ :‬مريهان عمر‬

‫ﺑﻌــﺪ ﻗــﺮار ﺗﻐﻴــري ﻃﺎﻗــﻢ ﻋﻤــﻞ‬ ‫ﺑﺮﻧﺎﻣــﺞ ﺻﺒــﺎح اﻟﺨــري ‪،AUC‬‬ ‫أﻧﺸــﺄ اﳌﻘــﺪم اﻟﺮﺋﻴــﴘ ﻟﻠﱪﻧﺎﻣــﺞ‬ ‫ﺑﺮﻧﺎﻣ ًﺠــﺎ ﺟﺪﻳ ـ ًﺪ ا ﻣﺘﻴ ًﺤــﺎ ﺳــﺎﺣﺔ أﻛــﱪ‬ ‫ﻟﻠﻤﻨﺎ ﻓﺴــﺔ ‪.‬‬ ‫أوﺿﺤــﺖ ﺑﺘــﻮل اﻟﺒﻴــﺎﱄ‪ ،‬اﻟﺮﺋﻴــﺲ‬ ‫اﻟﺤــﺎﱄ ﻟﺼﺒــﺎح اﻟﺨــري ‪ ،AUC‬أن‬

‫ﻣﺤﺘــﻮى ﺣﻠﻘــﺎت ﺻﺒــﺎح اﻟﺨــري ‪AUC‬‬ ‫ﻳــﺪور ﺣــﻮل اﻟﻄﺎﻟــﺐ‪ ،‬واﻟﺤﻴــﺎة‬ ‫اﻟﻄﻼﺑﻴــﺔ واﳌﺠﺘﻤــﻊ اﻟﺠﺎﻣﻌــﻲ ﰲ‬ ‫إﻃــﺎر ﻣﻀﺤــﻚ وﻃﺮﻳــﻒ‪ .‬ﺗﻌــﺮض‬ ‫ﺣﻠﻘــﺎت اﻟﱪﻧﺎﻣــﺞ ﻋــﲆ ﺻﻔﺤــﺎت‬ ‫اﻟﺘﻮاﺻــﻞ اﻻﺟﺘامﻋــﻲ ﻣــﻦ ﻳﻮﺗﻴــﻮب‬ ‫وﻓﻴﺴــﺒﻮك ‪.‬‬ ‫وﻣــﻊ ذﻟــﻚ ﻻﺣﻈــﺖ اﻟﺒﻴــﺎﱄ‬ ‫أن ﻫﻨــﺎك رﻛــﻮدًا ﰲ اﻟﻌﻤــﻞ ﻣــﻦ‬

‫وإﻫــامﻻ ﰲ ﺑﻌــﺾ‬ ‫ً‬ ‫أﴎة اﻟﱪﻧﺎﻣــﺞ‬ ‫اﻟﻮاﺟﺒــﺎت اﻟﺒﺴــﻴﻄﺔ وﻟﻬــﺬا‬ ‫اﻟﺴــﺒﺐ ﻗــﺮرت أن ﺗﻐــري ﰲ اﻟﻘﻮاﻋــﺪ‬ ‫واﻟﺴﻴﺎﺳــﺎت ﰲ اﻟﱪﻧﺎﻣــﺞ‪.‬‬ ‫أﺿﺎﻓــﺖ اﻟﺒﻴــﺎﱄ‪ » ،‬أ ُ ِ‬ ‫ﻧﺸــﺊ ﺻﺒــﺎح‬ ‫اﻟﺨــري ﰲ اﻷﺳــﺎس ﻟﻠﻄــﻼب وﻟﺬﻟــﻚ‬ ‫ﻓﻴﺠــﺐ ﻋﻠﻴﻨــﺎ أن ﻧﻌﻄﻴﻬــﻢ اﻟﻔﺮﺻــﺔ‬ ‫ﻟﻴﻜﻮﻧــﻮا ﺟــﺰ ًء ا ﻣــﻦ ﻫــﺬه اﳌﺒــﺎدرة«‪.‬‬

‫ﻣﺆﻛــﺪة أن ﻫﻨــﺎك ﺣﺎﺟــﺔ إﱃ »دم‬ ‫ﺟﺪﻳــﺪ«‪.‬‬ ‫ﻣــﻦ ﻫﻨــﺎ أﺻــﺪرت اﻟﺒﻴــﺎﱄ‬ ‫ﺳﻴﺎﺳــﺔ ﺟﺪﻳــﺪة ﺣــﻮل ﺗﻐﻴــري ﻃﺎﻗــﻢ‬ ‫اﻟﱪﻧﺎﻣــﺞ ﺑﺄﻛﻤﻠــﻪ وﺗﻘﺪﻳــﻢ ﺗﺠــﺎرب‬ ‫أداء ﺟﺪﻳــﺪة ﻟﺠﻤﻴــﻊ اﻷﻋﻀــﺎء‬ ‫ﺳــﻮاء ﻛﺎﻧــﻮا ﺟــﺪ دًا أو ﻗﺪاﻣــﻰ‪.‬‬ ‫ﻛﺎن ﻟﻬــﺬا اﻟﻘــﺮار أﺛــﺮ ﻣﺨﺘﻠــﻒ‬ ‫ﻋــﲆ دﻳﻔﻴــﺪ ﻓﺎﺧــﺮ‪ ،‬اﳌﻘــﺪم اﻟﺮﺋﻴــﴘ‬ ‫ﻟﺼﺒــﺎح اﻟﺨــري ‪.AUC‬‬ ‫ﻗــﺎل ﻓﺎﺧــﺮ إﻧــﻪ اﻛﺘﺸــﻒ ﺳﻴﺎﺳــﺔ‬ ‫اﻟﺒﻴــﺎﱄ اﻟﺠﺪﻳــﺪة ﻹﻋــﺎدة اﻟﺘﻮﺟﻴــﻪ‬ ‫ﻣــﻦ ﺧــﻼل إﻋــﻼن وﻇﻴﻔــﺔ ﻋــﲆ‬ ‫ﻣﻮﻗــﻊ اﻟﻔﻴﺴــﺒﻮك‪ ،‬وﺑﺎﻟﻨﺴــﺒﺔ ﻟــﻪ‬ ‫ﻛﺎن ذﻟــﻚ ﻏــري ﻣﻘﺒــﻮل ﻷﻧــﻪ ﻛﺎن‬ ‫اﳌﻘــﺪم ﳌــﺪة ﻋــﺎم‪.‬‬ ‫وأوﺿــﺢ ﻓﺎﺧــﺮ أﻧــﻪ ﻛﺎن ﻫﻨــﺎك‬ ‫ﻋﻘــﺪ ﺷــﻔﻬﻲ ﺑﻴﻨــﻪ وﺑــني اﻟﺮﺋﻴﺴــﺔ‬ ‫اﻟﺴــﺎﺑﻘﺔ ﻟﺼﺒــﺎح اﻟﺨــري ‪ ،AUC‬روان‬ ‫ﺳــﻬﺪي‪ ،‬أن ﻓﺎﺧــﺮ ﺳــﻴﻜﻮن اﳌﻘــﺪم‬ ‫اﻟﺮﺋﻴــﴘ ﺣﺘــﻰ ﺗﺎرﻳــﺦ ﺗﺨﺮﺟــﻪ‪.‬‬ ‫ﻛﺎن اﻟﺴــﺆال ﻫﻨــﺎ ﻫــﻮ‪ ،‬ﻫــﻞ ﻳﻌــﺪ‬ ‫ذﻟــﻚ ﺧﺮﻗًــﺎ ﻟﻠﻌﻘــﺪ اﳌﻘــﺎم ﺑــني‬ ‫ﻓﺎﺧــﺮ وﺳــﻬﺪي؟‬ ‫ﻳﻌﺘﻤــﺪ ﻫــﺬا ﻋــﲆ ﻣــﻜﺎن ﺳــﻮﻫﺪي‬ ‫ﺣﺎﻟﻴًــﺎ‪ ،‬وإذا ﻣــﺎ ﻛﺎن ﻳﺘــﻢ ﺗﻄﺒﻴــﻖ‬ ‫اﻟﺴﻴﺎﺳــﺔ اﻟﺠﺪﻳــﺪة ﻋﻠﻴﻬــﺎ أﻳﻀً ــﺎ‪.‬‬ ‫ﻣــﻦ اﳌﺜــري ﻟﻼﻫﺘــامم أﻧــﻪ‪ ،‬ﻛــام‬ ‫ذﻛــﺮ ﻓﺎﺧــﺮ‪ ،‬أﺻﺒﺤــﺖ روان ﻧﺎﺋــﺐ‬ ‫اﻟﺮﺋﻴــﺲ اﻟﺠﺪﻳــﺪ ﺑﻌﺪﻣــﺎ ﻛﺎﻧــﺖ‬ ‫مبﻨﺼــﺐ اﻟﺮﺋﻴــﺲ‪.‬‬ ‫ﻛــام أﻋــﺮب ﻓﺎﺧﺮﻋــﻦ ﺗﻨﻔﻴــﺬ‬ ‫اﻟﻌﻘــﺪ اﻟﻠﻔﻈــﻲ ﻣــﻊ اﳌﺮاﺳــﻠني‬ ‫اﻵﺧﺮﻳــﻦ‪ ،‬وﺑﺎﻟﻔﻌــﻞ اﺳــﺘﻤﺮوا ﺣﺘــﻰ‬ ‫ﻣﻴﻌــﺎد ﺗﺨﺮﺟﻬــﻢ ﻣــﻦ اﻟﺠﺎﻣﻌــﺔ‪.‬‬ ‫وأﺿــﺎف ﻓﺎﺧــﺮ أﻧــﻪ مل ﻳﺘــﻢ‬ ‫ﺗﺤﺬﻳــﺮه ﻋــﲆ اﻹﻃــﻼق ﻋــﻦ ﻗﻀﺎﻳــﺎ‬ ‫اﻟﺠﻬــﺪ أو وﺟــﻮد رﻛــﻮد ﰲ اﻟﻌﻤــﻞ‪.‬‬ ‫ﻛــام ﻗــﺎل إﻧــﻪ ﻳﺠــﺐ ﻋــﲆ اﳌﺴــﺆول‬ ‫ﰲ أي ﻛﻴــﺎن ﻋﻤــﻞ‪ ،‬ﺗﺤﺬﻳــﺮ اﳌﻮﻇــﻒ‬

‫ﻣــﺮة أو اﺛﻨــني ﻗﺒــﻞ إﻗﺎﻟﺘــﻪ ‪.‬‬ ‫ﻋــﲆ اﻟﻨﻘﻴــﺾ‪ ،‬أوﺿﺤــﺖ اﻟﺒﻴــﺎﱄ‬ ‫أن ﻫــﺬا ﻟﻴــﺲ ﺷــﻴﺌًﺎ ﺷــﺨﺼ ٍّﻴﺎ‪،‬‬ ‫وﻳﻨﺒﻐــﻲ أن ﺗﺆﺧــﺬ ﻓﺮﺻــﺔ ﳌﺸــﺎرﻛﺔ‬ ‫اﻟﻄــﻼب اﻵﺧﺮﻳــﻦ واﻟﻌﻘــﻮل‬ ‫واﻷﻓــﻜﺎر اﻟﺠﺪﻳــﺪة واﳌﺨﺘﻠﻔــﺔ‬ ‫وﺗﺠﻨــﺐ اﻟﺴــامح ﻟﻸﻋﻀــﺎء اﻟﻘﺪاﻣــﻰ‬ ‫أن ﻳﻌﺘــﺎدوا ﻋــﲆ منــﻂ روﺗﻴﻨــﻲ‬ ‫ﻟﻴــﺲ ﺑــﻪ إﺑــﺪاع‪.‬‬ ‫ﻣــﻦ اﻷﻣﺜﻠــﺔ اﻟﺘــﻲ ذﻛﺮﺗﻬــﺎ‬ ‫اﻟﺒﻴــﺎﱄ‪ ،‬ﺳــﻨﺪس ﻣﻨﺼــﻮر واﻟﺘــﻲ‬ ‫ﻛﺎﻧــﺖ ﻋﻀــ ًﻮا ﰲ ﻗﺴــﻢ اﻟﺒﺤــﺚ‬ ‫ﻗﺒــﻞ أن ﺗﺼﺒــﺢ اﻟﺒﻴــﺎﱄ رﺋﻴﺴــﺔ‪،‬‬ ‫ﺑﻌــﺪ ﺗﻄﺒﻴــﻖ اﻟﺴﻴﺎﺳــﺔ اﻟﺠﺪﻳــﺪة‪،‬‬ ‫ﺣﺼﻠــﺖ ﻣﻨﺼﻮرﻋــﲇ ﻗﺒــﻮل‬ ‫رﺋﻴﺴــﺎ ﻟﻘﺴــﻢ‬‫وأﺻﺒﺤــﺖ ‪-‬ﺑﺎﻟﻔﻌــﻞ‬ ‫ً‬ ‫اﻟﺒﺤــﺚ ﺑﺎﻟﱪﻧﺎﻣــﺞ‪.‬‬ ‫ﻣﻨﺼــﻮر ﻫــﻲ واﺣــﺪة ﻣــﻦ ﺣــﻮاﱄ‬ ‫ﺛﻼﺛــﺔ أﻋﻀــﺎء ﻣــﻦ اﻟﻘﺪاﻣــﻰ اﻟﺬﻳــﻦ‬ ‫متــﺖ ﺗﺮﻗﻴﺘﻬــﻢ‪ .‬وﻫــﺬا دﻟﻴــﻞ ﻋــﲆ‬ ‫أﻧــﻪ ﻃﺎﳌــﺎ ﻳﻜــﺮس اﻟﻄﺎﻟــﺐ اﻻﻟﺘــﺰام‬ ‫ﻟﻴﺼﺒــﺢ ﺟــﺰ ًء ا ﻣــﻦ اﻟﻜﻴــﺎن ﺳــﻮف‬ ‫ﻳُﻜﺎ ﻓَــﺄ‪ .‬ﻓﻌــﲇ اﻟﺒﻴــﺎﱄ أن ﺗﻌــﺪل‬ ‫ﺑــني اﻟﻄــﻼب ﺟﻤﻴ ًﻌــﺎ ومتﻨــﺢ اﻟﻔــﺮص‬ ‫اﳌﺘﺴــﺎوﻳﺔ ﻟــﻜﻞ اﳌﺸــﱰﻛني‪.‬‬ ‫وﻋــﻦ ذﻛــﺮ اﻻﻟﺘــﺰام‪ ،‬أﻇﻬــﺮ‬ ‫ﺣامﺳــﺎ ﻛﺒــ ًريا ﰲ ﺗﺄﺳــﻴﺲ‬ ‫ﻓﺎﺧــﺮ‬ ‫ً‬ ‫»ﺳــﺒﻮﻃﺎﻳﺎ« ﺗﺤــﺖ ﺷــﻌﺎر‪» :‬ﻫــﺬا‬ ‫اﻟﱪﻧﺎﻣــﺞ ﻟﻠﻀﺤــﻚ واﻟﺴــﺨﺮﻳﺔ‬ ‫وميــﺖ ﺑﺎﻟﺤﻘﻴﻘــﺔ ﺣﺘــﻰ ﻟــﻮ ﻛﺎﻧــﺖ‬ ‫اوﻓﻨﺴــﻒ‪ ،‬ﺑــﺲ ﻣــﺶ ﻋﺎوزﻳــﻦ‬ ‫ﺣــﺪ ﻳﻘﻔــﺶ‪ ،‬ﻫــﺎ ؟ ﻳــﻼ ؟ ﻳــﻼ ﻋــﲇ‬ ‫ا ﻻﺳــﺒﻮ ﻃﺎ ﻳﺔ ‪« .‬‬ ‫وﻋﻨﺪﻣــﺎ ُﺳـ ِﺌﻞ ﻋــام ﺳــﻴﻐري ﻓﺎﺧــﺮ ﰲ‬ ‫إدارة اﻟﱪﻧﺎﻣــﺞ اﻟﺠﺪﻳــﺪ‪ ،‬ﻗــﺎل‪» ،‬أرﻳــﺪ‬ ‫ﻣﺸــﺎرﻛﺔ اﳌﺰﻳــﺪ ﻣــﻦ اﳌﺆﺳﺴــﺎت‬ ‫اﻟﻄﻼﺑﻴــﺔ‪ ،‬ﺗﺤﺪﺛــﺖ ﺑﺎﻟﻔﻌــﻞ إﱃ‬ ‫ﺛــﻼث ﻣﺆﺳﺴــﺎت وأرﻳــﺪ اﻟﱰﻛﻴــﺰ‬ ‫ﻋــﲆ ﻃﺎﻗــﻢ اﻟﻜﺎﻣــريا واﻟﺘﺤﺮﻳــﺮ أﻛــرث‬ ‫ﻣــﻦ اﻟﺘﺴﻠﺴــﻞ اﻟﻬﺮﻣــﻲ ﻟﻠﻤﺪﻳﺮﻳــﻦ‬

‫واﻟﺸــﻜﻠﻴﺎت«‪.‬‬ ‫ﻧــﴩ ﻓﺎﺧــﺮ ﺑﺎﻟﻔﻌــﻞ اﻟﺤﻠﻘــﺔ‬ ‫اﻷوﱃ ﻣــﻦ ﺳــﺒﻮﻃﺎﻳﺎ وﻛﺎن ﻓﺨــﻮ ًرا‬ ‫أن ﻳﺬﻛــﺮ أن اﻟﺼﻔﺤــﺔ اﻟﺘــﻲ ﺑــﺪأت‬ ‫ﻣــﻦ اﻟﺼﻔــﺮ‪ ،‬ﺣﺼﻠــﺖ ﻋــﲆ اﻟﻌﺪﻳــﺪ‬ ‫ﻣــﻦ اﻹﻋﺠﺎﺑــﺎت ﺑﻌــﺪ ﺑﻀﻌــﺔ أﻳــﺎم‪.‬‬ ‫ﻓﺎﻛﺘﺴــﺒﺖ ‪ ٨٠٠‬ﻻﻳــﻚ وﺣﻈﻴــﺖ‬ ‫اﻟﺤﻠﻘــﺔ ﻋــﲆ ‪ ٢٠‬أﻟــﻒ ﻣﺸــﺎﻫﺪة‪.‬‬ ‫ﻟــﺪى ﺳــﺒﻮﻃﺎﻳﺎ ﺣﺎﻟﻴــﺎ ﻓﺮﻳــﻖ‬ ‫ﻋﻤــﻞ ﻣــﻦ ‪ ٤‬أﻋﻀــﺎء‪ ،‬دﻳﻔﻴــﺪ ﻫــﻮ‬ ‫اﳌﻨﺘــﺞ‪ ،‬اﳌﻘــﺪم واﳌﺪﻳــﺮ‪ ،‬وﻣﻌــﻪ‬ ‫ﻣﺤــﺮر وﻓﻨــﻲ ﻛﺎﻣــريا وﻣﻘﺪﻣــﺔ‪.‬‬ ‫رؤﻳــﺔ ﺑﺮﻧﺎﻣــﺞ ﺳــﺒﻮﻃﺎﻳﺎ ﻣﺴــﺘﻮﺣﺎة‬ ‫ﻣــﻦ ﻓﻜــﺮة »ﻫــﺎن ﺳــﺒﻮت ﻓــني«‬ ‫وﻫــﻮ ﻣﺼﻄﻠــﺢ ﻣﺸــﱰك ﺑــني اﻟﺸــﺒﺎب‬ ‫ﻳﻌﻨــﻲ »أﻳــﻦ ﺳــﻨﺠﻠﺲ؟« وﻫــﺬا‬ ‫ﻳﻌﻜــﺲ أﺳــﻠﻮب اﻟﱪﻧﺎﻣــﺞ ﻋــﻦ‬ ‫ﻃﺮﻳــﻖ اﻟﺴــﺨﺮﻳﺔ اﻟﺤﺪﻳﺜــﺔ ﰲ ﺷــﻜﻞ‬ ‫ﻟﻘﻄــﺎت اﳌــﴪح اﻟﻜﻮﻣﻴــﺪي‪.‬‬ ‫ﻋﻨﺪﻣــﺎ ُﺳــ ِﺌﻞ اﻟﻄــﻼب ﻋــﻦ رأﻳﻬــﻢ‬ ‫ﰱ ﺑﺮﻧﺎﻣــﺞ ﺳــﺒﻮﻃﺎﻳﺎ وﺻﺒــﺎح اﻟﺨــري‬ ‫‪ AUC‬ذﻛــﺮوا أن اﻟﻔــﺮق ﻟﻴــﺲ‬ ‫ﻛﺒــ ًريا ﺑــني اﻟﱪﻧﺎﻣﺠــني‪ ،‬ﻟﻜــﻦ ﻓﻜــﺮة‬ ‫ﻟﻘﻄــﺎت اﳌﴪﺣﻴــﺔ ﰲ ﺳــﺒﻮﻃﺎﻳﺎ‬ ‫ﺟﺪﻳــﺪة ﻋــﻦ ﺻﺒــﺎح اﻟﺨــري ‪.AUC‬‬ ‫ﺻﺒــﺎح اﻟﺨــري ‪ AUC‬ﻫــﻮ ﺑﺮﻧﺎﻣــﺞ‬ ‫إﻋﻼﻣــﻲ أﻧﺸــﺄه ﻃــﻼب اﻟﺠﺎﻣﻌــﺔ‬ ‫اﻷﻣﺮﻳﻜﻴــﺔ ﰲ ﺧﺮﻳــﻒ ‪ ٢٠١٤‬ﻋــﲆ ﻳــﺪ‬ ‫اﻟﻄﺎﻟــﺐ أﺣﻤــﺪ ﻣﻨﺼﻮر‪.‬ﻳﺘــﻢ ﻋــﺮض‬ ‫ﻣﻮﺳــﻢ ﺟﺪﻳــﺪ ﰲ ﻛﻞ ﻓﺼــﻞ دراﳼ‪،‬‬ ‫وﻳﺤﺘــﻮي اﳌﻮﺳــﻢ ﻋــﲆ ﺧﻤــﺲ‬ ‫ﺣﻠﻘــﺎت‪.‬‬ ‫وﺟــﻮد ﺳــﺒﻮﻃﺎﻳﺎ وﺻﺒــﺎح اﻟﺨــري‬ ‫‪ AUC‬ﻫــﻮ ﳾء ﺟﻴــﺪ ﻟﻠﻤﺠﺘﻤــﻊ‬ ‫اﻟﺠﺎﻣﻌــﻲ؛ ﻓﻬــﻮ ﻳﺤﻔــﺰ اﻟﻄــﻼب‬ ‫ﻋــﲆ اﻟﻘﻴــﺎم ﺑﻌﻤﻠﻬــﻢ ﻋــﲆ أﻋــﲆ‬ ‫اﳌﻌﺎﻳــري وﺗﺪرﻳﺒﻬــﻢ ﻋــﲆ اﻟﺼــﺪق‬ ‫واﻟﻨﺰاﻫــﺔ ﻟﻠﺤﻔــﺎظ ﻋــﲆ ﺳــﻤﻌﺔ‬ ‫ﻃﻴﺒــﺔ‪ .‬ﻓﺎﳌﻨﺎﻓﺴــﺔ ﴐورﻳــﺔ وﻫﻨــﺎك‬ ‫ﺣﺎﺟــﺔ إﱃ ﻣﺠﻤﻮﻋــﺎت ﻣﺘﻨﻮﻋــﺔ‪.‬‬


‫‪ | 2‬أخـــبار و تـقـاريـر‬

‫اﻷﺣﺪ ‪ ٤‬ﻣﺎرس‪٢٠١٨ ،‬‬

‫عن الـعـشوائـيـــات فـــي مـــصر‪ ،‬هل تكفي الـــحلول املادية؟‬

‫إﺣﺪى اﳌﻨﺎﻃﻖ اﻟﻌﺸﻮاﺋﻴﺔ ﺑﺎﻟﻘﺎﻫﺮة‬ ‫تقرير ‪ :‬دانيا عكاوي‬

‫ﻋــﲆ اﻟﺮﻏــﻢ ﻣــﻦ أن اﳌﺆﺳﺴــﺎت اﻟﺨريﻳــﺔ‬ ‫واﻟﺤﻜﻮﻣﻴــﺔ ﻟﺪﻳﻬــﺎ ﻣﺸــﺎرﻳﻊ ﳌﺴــﺎﻋﺪة‬ ‫اﻟﻌﺸ ـﻮاﺋﻴﺎت وﺗﻘﺪﻣﻬــﺎ ﰲ ﻣــﴫ‪ ،‬ﻣﺎزاﻟــﺖ‬ ‫ﺗﻠــﻚ اﻟﻌﺸ ـﻮاﺋﻴﺎت ﻣﺸــﻜﻠﺔ ﺗﻌــﺎين ﻣﻨﻬــﺎ‬ ‫اﻟﺪوﻟــﺔ وﻳﻌــﺎين ﻣﻨﻬــﺎ ﻣﻦ ﻳﻌﻴﺸــﻮن ﰲ ﻫﺬه‬ ‫اﳌﻨﺎﻃــﻖ دون ﺣﻠــﻮل ﻣﺴــﺘﻘﺒﻠﻴﺔ ﻧﺎﻓﻌــﺔ‪.‬‬ ‫ﻗــﺎل إﺑﺮاﻫﻴــﻢ اﻟﻨــﻮر‪ ،‬رﺋﻴﺲ ﻗﺴــﻢ اﻟﻌﻠﻮم‬ ‫اﻟﺴﻴﺎﺳــﻴﺔ وﻣﻨﺴــﻖ دراﺳــﺎت اﻟﺘﻨﻤﻴــﺔ‬ ‫واﻟﺘﻄﻮﻳــﺮ ﰲ اﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ‪» ،‬اﻟﺤــﻞ‬ ‫ﻳﺘﻤﺜــﻞ ﰲ ﻣﺤﺎوﻟــﺔ ﺗﻘــﺪم اﻟﻌﺸ ـﻮاﺋﻴﺎت‪ .‬ﻻ‬

‫داﻧﻴﺎ ﻋﻜﺎوي‬

‫ﻳﻮﺟــﺪ ﺣــﻞ ﺛــﺎنٍ‪«.‬‬ ‫ﻣــﻦ ﺟﺎﻧــﺐ اﺟﺘامﻋــﻲ وﺳــﻴﺎﳼ‪،‬‬ ‫ﺗــﻢ إﻧﺸــﺎء ﻣﺸــﺎرﻳﻊ ﻟﺘﻄﻮﻳــﺮ اﳌﻨﺎﻃــﻖ‬ ‫اﻟﻌﺸــﻮاﺋﻴﺔ ﰲ ﻋــﺎم ‪ .٢٠٠٨‬وﻟﻜــﻦ‪ ،‬ﻛــام‬ ‫ﻛُﺘــﺐ ﰲ ﻣﻘــﺎل ﰲ اﻟﻴــﻮم اﻟﺴــﺎﺑﻊ‪ ،‬ﺗﻄﻮﻳــﺮ‬ ‫ﻛﻞ اﳌﻨﺎﻃــﻖ اﻟﻌﺸ ـﻮاﺋﻴﺔ اﻧﺘﻬــﻰ وﺑــﺪأوا ﰲ‬ ‫ﻣﺸــﺎرﻳﻊ اﻹﺳــﻜﺎن ﻟﺤﻞ ﻗﻀﻴﺔ اﻟﻌﺸﻮاﺋﻴﺎت‬ ‫مبﺴــﺎﻋﺪة اﳌﺸــﺎرﻳﻊ اﻟﺘﻨﻤﻮﻳــﺔ ﰲ ﺻﻨــﺪوق‬ ‫»ﺗﺤﻴــﺎ ﻣــﴫ‪«.‬‬ ‫ﻗــﺎل إﺑﺮاﻫﻴــﻢ اﻟﻨــﻮر‪ ،‬رﺋﻴــﺲ ﻗﺴــﻢ‬ ‫اﻟﻌﻠــﻮم اﻟﺴﻴﺎﺳــﻴﺔ وﻣﻨﺴــﻖ دراﺳــﺎت‬ ‫اﻟﺘﻨﻤﻴــﺔ واﻟﺘﻄﻮﻳــﺮ ﰲ اﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ‪،‬‬

‫»اﻟﺤــﻞ ﰲ ﻣﺤﺎوﻟــﺔ ﺗﻘــﺪم اﻟﻌﺸـﻮاﺋﻴﺎت‪ .‬ﻻ‬ ‫ﻳﻮﺟــﺪ ﺣــﻞ ﺛــﺎنٍ«‪.‬‬ ‫وﺗﺮﻛــﺰ اﻟﺤﻜﻮﻣﺔ‪-‬ﺣﺎﻟ ًﻴﺎ‪-‬ﻋــﲆ ﺑﻨــﺎء ﺑﻴــﻮت‬ ‫ﺟﺪﻳــﺪة ﻟﺴــﻜﺎن اﻟﻌﺸــﻮاﺋﻴﺎت‪ .‬ﻣﺤﺎﻓــﻆ‬ ‫اﻟﺠﻴــﺰة ﻗــﺎل‪،‬إن »ﻣــﴫ ﺣﻘﻘــﺖ ﻧﺠﺎ ًﺣــﺎ‬ ‫ﻛﺒـ ًريا ﻟﺤــﻞ أزﻣﺔ اﻟﻌﺸـﻮاﺋﻴﺎت ﺑﺒﻨــﺎء ﻣﻠﻴﻮن‬ ‫وﺣــﺪة ﺳــﻜﻨﻴﺔ« ﰲ ﺟﺮﻳــﺪة ‪ El Balad‬ﻳــﻮم‬ ‫‪ ٢١‬ﻣــﻦ ﻓﱪاﻳــﺮ‪.‬‬ ‫أﺿــﺎف ﻣﺤﺎﻓــﻆ اﻟﺠﻴــﺰة أن »ﻣــﴫ‬ ‫ﻗﻄﻌــﺖ ﺧــﻼل اﻟﺴــﻨﻮات اﻷرﺑــﻊ اﳌﺎﺿﻴــﺔ‬ ‫ﺷــﻮﻃًﺎ ﻛﺒــ ًريا ﰱ ﻣﻜﺎﻓﺤــﺔ اﻟﻌﺸــﻮاﺋﻴﺎت‬ ‫ﺣﻴــﺚ متﻜﻨــﺖ اﻟﺤﻜﻮﻣــﺔ اﳌﴫﻳــﺔ ﻣــﻦ‬

‫ﺗﻮﻓــري ﻣﻠﻴــﻮن وﺣــﺪة ﺳــﻜﻨﻴﺔ ﳌﺤــﺪودى‬ ‫ﻓﻀﻼ‬ ‫اﻟﺪﺧــﻞ وﺗﻄﻮﻳــﺮ اﳌﻨﺎﻃﻖ اﻟﻌﺸـﻮاﺋﻴﺔ ً‬ ‫ﻋــﻦ اﻟﺒــﺪء ﰱ إﻧﺸــﺎء أﻛــرث ﻣــﻦ ‪ ١٣‬ﻣﺪﻳﻨــﺔ‬ ‫ﺟﺪﻳــﺪة ﺑﺎﳌﺤﺎﻓﻈــﺎت ﻻﺳــﺘﻴﻌﺎب اﻟﺰﻳــﺎدة‬ ‫اﻟﺴــﻜﺎﻧﻴﺔ‪«.‬‬ ‫وﺿــﺢ اﻟﻨــﻮر أﻧــﻪ ﻳﺠــﺐ ﻓﻬــﻢ ﺗﻜﻮﻳــﻦ‬ ‫اﻟﻌﺸ ـﻮاﺋﻴﺎت اﻟﺘﺎرﻳﺨــﻲ ﻟﻔﻬــﻢ اﻟﻘﻀﻴــﺔ ﰲ‬ ‫اﳌﺠﺘﻤــﻊ ﺑﺎﻟﻮﻗــﺖ اﻟﺤــﺎﱄ‪ .‬ﻋﻨﺪﻣــﺎ ﻧــﺪرس‬ ‫ﺗﺎرﻳــﺦ اﻟﻘﺎﻫــﺮة ﰲ اﻟﺴــﺘﻴﻨﻴﺎت‪،‬ﻧﺠﺪ أن‬ ‫ﺣــﺪود ﻛﺎﻧــﺖ اﻟﻘﺎﻫــﺮة ﻋﻨــﺪ ﺷــﺎرع ﺻــﻼح‬ ‫ﺳــﺎمل وأﺿــﺎف اﻟﻨــﻮر أﻧــﻪ ﰲ اﻟﻮﻗــﺖ اﻟﺤﺎﱄ‪،‬‬ ‫ﻳﻮﺟــﺪ اﻣﺘــﺪاد أﻛــﱪ ﻣــﻦ اﻟﻘﺎﻫــﺮة ﺑﺄرﺑــﻊ‬

‫ﻣـﺮات‪ ،‬وﻫــﺬا اﻻﻣﺘــﺪاد ﻫــﻮ اﻟﻌﺸـﻮاﺋﻴﺎت‪.‬‬ ‫ﺣــﺪث اﻻﻣﺘــﺪاد ﺑﺴــﺒﺐ ﻫﺠــﺮة اﻟﻨــﺎس‬ ‫ﻟﻸﻣﺎﻛــﻦ »اﳌﺘﺤــﴬة« ﰲ اﻟﺒﻠــﺪ‪ .‬ﴍح‬ ‫اﻟﻨــﻮر أن ﻇﻬــﻮر اﻟﻌﺸــﻮاﺋﻴﺎت ﻧﺘــﺞ ﻋــﻦ‬ ‫اﻟﻬﺠــﺮة ﻣــﻦ اﳌﻨﺎﻃــﻖ اﻟﺮﻳﻔﻴــﺔ إﱃ اﳌﻨﺎﻃﻖ‬ ‫اﻟﺤﴬﻳــﺔ‪.‬‬ ‫أرﺟــﻊ اﻟﻨــﻮر ﺳــﺒﺐ اﻟﻬﺠــﺮة إﱃ ﻋــﺪم‬ ‫وﺟــﻮد اﻟﺨﺪﻣــﺎت ﰲ اﳌﻨﺎﻃــﻖ اﻟﺮﻳﻔﻴﺔ‪ .‬ﻓﺈذا‬ ‫ﺗﻮاﻓــﺮت ﻓــﺮص اﻟﻌﻤــﻞ‪ ،‬ﻓﻠﻦ ﻳﻀﻄــﺮ اﻟﻨﺎس‬ ‫إﱃ اﻟﻬﺠــﺮة‪ .‬وﻟﻜــﻦ اﻟﻨﺎس ﻳﻬﺎﺟﺮون ﺑﺴــﺒﺐ‬ ‫ﻋــﺪم وﺟــﻮد ﻓــﺮص ﻋﻤــﻞ ﰲ اﳌﻨﺎﻃــﻖ‬ ‫اﻟﺮﻳﻔﻴﺔ‪.‬‬ ‫أوﺿــﺢ اﻟﻨــﻮر أﻧــﻪ ﻋﻨــﺪ اﻟﻬﺠــﺮة‪ ،‬ﻳﻨﺘﻘــﻞ‬ ‫ﺟﻤﻴــﻊ اﻷﻓ ـﺮاد ﺑﺎﻟﻌﺎﺋﻠــﺔ‪ .‬وﻟﺬﻟــﻚ ﺗﺘﻮﺳــﻊ‬ ‫اﻟﻌﺸـﻮاﺋﻴﺎت وأﺿــﺎف‪» ،‬اﻟﻌــﺪد ﻛﺒــري ﺟـﺪٍّا‪.‬‬ ‫أﻛــرث ﻣــﻦ ﻧﺼــﻒ اﻟﻘﺎﻫــﺮة ﺗﺴــﻜﻦ ﰲ‬ ‫اﻟﻌﺸــﻮاﺋﻴﺎت‪«.‬‬ ‫ﻳﻮاﺟﻪ اﻟﺴــﻜﺎن ﰲ اﻟﻌﺸـﻮاﺋﻴﺎت ﻣﺸــﻜﻠﺔ‬ ‫وﺟــﻮد ﺣــﻞ ﻣﻨﺎﺳــﺐ ﻳــﺮﴈ اﻟﺠﻤﻴــﻊ ﻣــﻦ‬ ‫ﺳــﻜﺎﻧﻬﺎ وﻫــﻰ ﻧﻘﻄــﺔ ﺻﻌﺒــﺔ‪ .‬وﻟﻜــﻦ أﻛــﺪ‬ ‫اﻟﻨــﻮر أن اﻟﺤﻜﻮﻣــﺔ واﻟﺪوﻟــﺔ ﻣﺴــﺆوﻟﺔ ﻋــﻦ‬ ‫ﺗﻄﻮﻳــﺮ ﺗﻠــﻚ اﳌﻨﺎﻃــﻖ‪.‬‬ ‫ﻗــﺎل اﻟﻨﻮر‪«،‬ﻳﻜــﱪ ﺣﺠــﻢ اﳌﻨﺎﻃــﻖ‬ ‫اﻟﻌﺸــﻮاﺋﻴﺔ ﻣــﻊ اﻟﻮﻗــﺖ واﻟﻮﺿــﻊ ﻣــﻦ‬ ‫اﳌﻤﻜــﻦ أن ﻳﺼﺒــﺢ ﻓــﻮق ﻗــﺪرة اﻟﺤﻜﻮﻣــﺔ‬ ‫ﻣــﻦ ﻧﺎﺣﻴــﺔ ﺗﻮﻓــري ﻛﻞ اﻟﺨﺪﻣــﺎت‪«.‬‬ ‫ﻋــﲆ اﻟﺮﻏــﻢ ﻣــﻦ ﻋﻤــﻞ اﻟﺪوﻟﺔ ﻋــﲆ ﻧﻘﻞ‬ ‫ﺳــﻜﺎن اﻟﻌﺸــﻮاﺋﻴﺎت إﱃ ﺑﻴــﻮت ﺟﺪﻳــﺪة‪،‬‬ ‫ﻗــﺎل اﻟﻨــﻮر‪» ،‬ﻳﻌﻤــﻞ ﺳــﻜﺎن اﻟﻌﺸ ـﻮاﺋﻴﺎت‬ ‫ﻓﻴام ﻳﺴــﻤﻰ ﺑﺎﻷﺳـﻮاق اﻟﻔﻮرﻳــﺔ‪ .‬و ﻟﺬﻟﻚ ﻻ‬ ‫ﻳﺮﻳــﺪون اﻟﺒﻌــﺪ ﻋــﻦ ﻣــﻜﺎن اﻟﻌﻤــﻞ‪«.‬‬ ‫ﻳــﺮى اﻟﻨــﻮر أن أﻛــﱪ ﻣﺸــﻜﻠﺔ ﰲ‬ ‫اﻟﻌﺸ ـﻮاﺋﻴﺎت ﻫــﻲ ﻣﺸــﻜﻠﺔ ﻋــﺪم وﺟــﻮد‬ ‫ﻓــﺮص ﻋﻤــﻞ‪ .‬ﻳﻌﻤــﻞ ﻣﻌﻈــﻢ ﺳــﻜﺎن‬ ‫اﻟﻌﺸــﻮاﺋﻴﺎت ﻛﺒﺎﺋﻌــني ﰲ اﻟﺸــﺎرع‪ ،‬ﻓﻔــﻲ‬ ‫ﺑﻌــﺾ اﻷﺣﻴــﺎن ﻳﺄﺗﻴﻬــﻢ دﺧــﻞ و أﺣﻴﺎﻧًــﺎ‬ ‫أﺧــﺮى ﻻ‪.‬‬ ‫ﻗــﺎل اﻟﻨﻮر‪»،‬ﻣﻌﻈﻤﻬــﻢ ﻳﻮﺟــﺪ ﻟﻬــﻢ ﻋﻤﻞ‬ ‫ﰲ اﻷﺳـﻮاق ﻏــري اﻟﺮﺳــﻤﻴﺔ داﺧــﻞ اﳌﺪﻳﻨــﺔ‬ ‫اﻟﻘﺪميــﺔ‪ ،‬وﻟﺬﻟــﻚ ﻻ ﻳﺮﻳــﺪون اﻟﻨﻘــﻞ ﺧــﺎرج‬ ‫اﳌﺪﻳﻨﺔ‪«.‬‬ ‫ﻗﺎﻟــﺖ ﻟﻴﻨــﺎ روان‪ ،‬اﳌﺴــﺆوﻟﺔ اﻟﺴــﺎﺑﻘﺔ‬ ‫ﻟﻘﺴــﻢ اﻟﺘﻄﻮﻳــﺮ واﻟﱰﻓﻴــﻪ ﻟﻸﻃﻔــﺎل ﰲ‬ ‫اﳌﺆﺳﺴــﺔ اﻟﻄﻼﺑﻴــﺔ«‪ ،«Glow‬إﺣــﺪى‬ ‫اﳌﺆﺳﺴــﺎت اﻟﻄﻼﺑﻴــﺔ اﻟﺨريﻳــﺔ ﰲ اﻟﺠﺎﻣﻌــﺔ‬

‫اﻷﻣﺮﻳﻜﻴــﺔ‪ » ،‬إن ﺳــﻜﺎن اﻟﻌﺸــﻮاﺋﻴﺎت‬ ‫ﻳﺄﺧــﺬون اﳌﻨــﺰل وﻳﺒﻴﻌﻮﻧــﻪ ﻟﺸــﺨﺺ آﺧــﺮ‬ ‫ﻣﻘﺎﺑــﻞ اﳌــﺎل‪ .‬إﻧﻬــﻢ ﻻ ﻳﻬﺘﻤــﻮن ﺑﺎﳌﻨــﺰل‪.‬‬ ‫ﻓﻜﻴــﻒ ﺳــﻴﺪﻓﻌﻮن ﺗﻜﺎﻟﻴــﻒ اﳌﻌﻴﺸــﺔ‬ ‫ﻟﻠﻤﻨــﺰل اﻟﺠﺪﻳــﺪ؟«‬ ‫أوﺿﺤــﺖ روان أن ﺣﻴﺎزﺗﻬــﻢ ﻋــﲆ ﺑﻴــﺖ‬ ‫ﻟﻴﺴــﺖ ﻣــﻦ أوﻟﻮﻳﺎﺗﻬــﻢ‪ .‬واﻷﻫــﻢ ﺑﺎﻟﻨﺴــﺒﺔ‬ ‫إﻟﻴﻬــﻢ ﻫــﻮ اﳌــﺎل ﻟــﻸﻛﻞ و ﻟﻸﻃﻔﺎل‪.‬وﻋــﻼوة‬ ‫ﻋــﲆ ذﻟــﻚ‪ ،‬ﻫﻢ ﻳﺸــﺘﻐﻠﻮن ﰲ اﻟﻌﺸـﻮاﺋﻴﺎت‬ ‫و اﻟﺤﻴــﺎة ﺧــﺎرج اﻟﻌﺸـﻮاﺋﻴﺎت ﺗﻌﺘﱪ ﻣﻌﻨﺎه‬ ‫ﻣــﻦ ﻧﺎﺣﻴــﺔ ﺗﻜﺎﻟﻴــﻒ اﳌﻮاﺻــﻼت اﻟﻴﻮﻣﻴــﺔ‪.‬‬ ‫ﺗﻌﻤــﻞ روان ﰲ ﻣﻨﻄﻘــﺔ ﻣﻨﺸــﻴﺔ ﻧــﺎﴏ‬ ‫وﺗــﺮى أن اﻟﺘﻌﻠﻴــﻢ ﻫــﻮ أﺳــﺎس اﻟﺘﻐﻴــري‬ ‫وﻳﺘﻴــﺢ اﳌﺠــﺎل ﻟﻠﺘﻘــﺪم‪ .‬أﻋﺮﺑــﺖ روان أن‬ ‫اﻟﺘﻌﻠﻴــﻢ ﻣﺘﻮﻓــﺮ إﱃ ﺣــﺪ ﻣــﺎ‪ ،‬وﻟﻜــﻦ ﻳﻮﺟــﺪ‬ ‫ﻣﻘﺎوﻣــﺔ ﻟﻠﺘﻐﻴــري‪.‬‬ ‫ﴍﺣــﺖ روان أﻧﻬــﻢ ﻻ ﻳﺘﻘﺒﻠــﻮن اﻟﺘﻄــﻮر‬ ‫ﻛﺄﻧــﻪ »ﺗﻄــﻮر« و ﻟﻜــﻦ ﻳــﺮون أﻧــﻪ ﺗﻐﻴــري‬ ‫ﻏــري ﻣﻌــﺮوف ﻧﺘﺎﺋﺠــﻪ‪ ،‬ﻓــﻼ ﻳﻮﺟــﺪ ﺿــامن‬ ‫أﻧــﻪ ﺗﻐﻴــري ﻟﺼﺎﻟﺤﻬــﻢ‪.‬‬ ‫ﻗﺎﻟــﺖ روان‪» ،‬ان ﻣــﻦ أﻛــﱪ اﳌﺸــﺎﻛﻞ ﰲ‬ ‫اﻟﻌﺸـﻮاﺋﻴﺎت ﺗﻜــﻮن ﻣــﻊ اﻷﻫــﺎﱄ‪ .‬اﻷﻃﻔــﺎل‬ ‫ﻫــﻢ اﳌﺴــﺘﻘﺒﻞ وﻟﻜــﻦ دون ﺗﻐﻴــري اﻟﺘﻔﻜــري‬ ‫ﻋﻨــﺪ اﻷﻫــﺎﱄ ﻳﺼﻌﺐ ﻣﺴــﺎﻋﺪة اﻷﻃﻔــﺎل‪«.‬‬ ‫أﺿﺎﻓــﺖ روان‪» ،‬ﻧﺤــﻦ ﻧُ َﻌﻠﱢــﻢ اﻟﺴــﻠﻮك‬ ‫و اﻷﺧــﻼق‪ ،‬ﻣﺜــﻞ ‪:‬ﻻ ﺗــﴬب وﻻ ﺗﻜــﺬب‪،‬‬ ‫وﻟﻜــﻦ ﻫــﺬا ﻻ ﻳﺘــامﳽ ﻣــﻊ اﻷﺧــﻼق‬ ‫ﰲ اﻟﺒﻴﺖ‪.‬ﻓﻔــﻲ اﻟﺒﻴــﺖ‪ ،‬ﻣــﻦ اﳌﻤﻜــﻦ‬ ‫أن ﺗﺘﻌــﺮض واﻟﺪﺗــﻪ أو اﻟﻄﻔــﻞ ﻧﻔﺴــﻪ‬ ‫ﻟﻠــﴬب‪«.‬‬ ‫ﻗــﺎل اﻟﻨــﻮر إن ﻗﻀﻴــﺔ اﻟﻌﺸــﻮاﺋﻴﺎت‬ ‫ﻟﻴﺴــﺖ ﻣﺸــﻜﻠﺔ ﻣﻮﺟــﻮدة ﰲ دوﻟــﺔ ﻣــﴫ‬ ‫ﻓﻘــﻂ ﺑــﻞ ﻣﻮﺟــﻮدة ﰲ ﻛﻞ اﻟــﺪول اﻟﻨﺎﻣﻴــﺔ‪.‬‬ ‫أﺿــﺎف اﻟﻨــﻮر‪» ،‬اﳌﺸــﻜﻠﺔ ﰲ اﻟﺒﻠــﺪان‬ ‫اﻟﻨﺎﻣﻴــﺔ ﻫــﻲ أن ﻓﻜــﺮة اﻟﻬﺠــﺮة إﱃ اﳌﺪﻳﻨﺔ‬ ‫ﻣﺮﺗﺒﻄــﺔ ﺑﺎﻟﺘﺼﻨﻴــﻊ‪ .‬وﻣــﻊ ذﻟــﻚ‪ ،‬ﻳﺤــﺪث‬ ‫اﻟﺘﺤــﴬ اﻵن ﰲ ﺟﻤﻴــﻊ اﻟﺒﻠــﺪان اﻟﻨﺎﻣﻴــﺔ‪،‬‬ ‫ﻣــﻊ أو ﺑــﺪون اﻟﺘﺼﻨﻴــﻊ‪«.‬‬ ‫أوﺿــﺢ اﻟﻨــﻮر أن اﻟﺤــﻞ ﰲ اﻟﻌﺸ ـﻮاﺋﻴﺎت‬ ‫ﻟﻴــﺲ ﰲ اﻟﺮﺟــﻮع إﱃ اﳌﻨﺎﻃــﻖ اﻟﺮﻳﻔﻴــﺔ‬ ‫ﻷﻧــﻪ ﺣﺘــﻰ وإن مل ﺗﻮﺟــﺪ ﻓــﺮص ﻟﻠﻌﻤــﻞ‬ ‫اﻵن‪ ،‬ﻓﻌــﲆ اﻷﻗــﻞ‪ ،‬ﻓﺮﺻــﺔ وﺟــﻮد ﻋﻤــﻞ‬ ‫ﰲ اﳌﺪﻳﻨــﺔ أﻛــﱪ ﻣــﻦ ﻓﺮﺻــﺔ وﺟــﻮد ﻋﻤــﻞ‬ ‫ﰲ اﳌﻨﺎﻃــﻖ اﻟﺮﻳﻔﻴــﺔ ‪ ،‬وﻳﻮﺟــﺪ ﻋــﲆ اﻷﻗــﻞ‬ ‫ﻧــﻮع ﻣــﻦ اﻟﺘﻌﻠﻴــﻢ اﻟﺠﻴــﺪ ﻟﻸﻃﻔــﺎل‪.‬‬

‫مؤمتر طاب اجلامعات املصرية ضمن فعاليات منوذج مجلس الوزراء املصري ‪ ،‬مصر ‪2٠٣٠‬‬ ‫تقرير‪ :‬هبة عبدالوهاب‬

‫ﻧﻈــﻢ ﻃــﻼب منــﻮذج ﻣﺠﻠــﺲ اﻟــﻮزراء‬ ‫ﺑﺎﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ ﻣﺆمتــﺮ ﻗﻤــﺔ‬ ‫ﺑﻘﺎﻋــﺔ ﻣﻨﺼــﻮر و ﻣــﴪح ﻣﻠــﻚ ﺟــﱪ‬ ‫ﻟﻠﻔﻨــﻮن‪ ،‬ﺑﺤــﺮم اﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ‬ ‫ﺑﺎﻟﻘﺎﻫــﺮة‪ .‬إﺳــﺘﻤﺮت ﻓﻌﺎﻟﻴــﺎت‬ ‫اﳌﺆمتــﺮ ﳌــﺪة ﺛﻼﺛــﺔ اﻳــﺎم ﺧــﻼل‬ ‫اﻟﻔــﱰة ﻣــﻦ ‪١٥‬إﱃ ‪١٧‬ﻓﱪاﻳــﺮ‪٢٠١٨‬‬ ‫اﺳــﺘﻬﺪف اﳌــﴩوع أرﺑــﻊ رﻛﺎﺋــﺰ‬ ‫رﺋﻴﺴــﻴﺔ ﺑﺨﺼــﻮص ﺧﻄــﺔ اﻟﺘﻨﻤﻴــﺔ‬ ‫اﳌﺴــﺘﺪاﻣﺔ ﳌــﴫ ﰲ ﻋــﺎم‪، ٢٠٣٠‬‬ ‫وﻫــﻢ اﻟﺘﻨﻤﻴــﺔ اﻻﻗﺘﺼﺎدﻳــﺔ‪ ،‬اﻟﻄﺎﻗــﺔ‬ ‫اﳌﺘﺠــﺪدة‪ ،‬اﻟﺘﻌﻠﻴــﻢ واﻟﺘﺪرﻳــﺐ‬ ‫واﻟﺘﻨﻤﻴــﺔ اﻟﺤﻀﺎرﻳــﺔ‪.‬‬ ‫ﺿــﻢ اﳌﺆمتــﺮ ﻃــﻼب ﻣــﻦ‬ ‫‪٣٠‬ﺟﺎﻣﻌــﺔ ﻣﺨﺘﻠﻔــﺔ ﻣــﻦ ﺟﻤﻴــﻊ‬ ‫أﻧﺤــﺎء ﻣــﴫ ﺑﺮﻋﺎﻳــﺔ وزﻳــﺮ اﻟﺘﻌﻠﻴــﻢ‬ ‫اﻟﻌــﺎﱄ واﻟﺒﺤــﺚ اﻟﻌﻠﻤــﻲ واﻟﺪﻛﺘــﻮر‬ ‫ﺧﺎﻟــﺪ ﻋﺒــﺪ اﻟﻐﻔــﺎر‪ ،‬وزﻳــﺮ اﻟﺘﻌﻠﻴــﻢ‬ ‫اﻟﻌــﺎﱄ واﻟﺒﺤــﺚ اﻟﻌﻠﻤــﻲ‬ ‫ﻧﺎﻗــﺶ ﻣﺆمتــﺮ اﻟﻨﻤــﻮذج ﻟﻬــﺬا‬ ‫اﻟﻌــﺎم اﺳــﱰاﺗﻴﺠﻴﺔ اﻟﺘﻨﻤﻴــﺔ‬ ‫اﳌﺴــﺘﺪاﻣﺔ ﰲ ﻣــﴫ ‪ ٢٠٣٠‬واﻟﻌﻤــﻞ‬ ‫ﻋــﲆ إﻳﺠــﺎد ﺣﻠــﻮل ﻟﻠﺘﺤﺪﻳــﺎت اﻟﺘــﻲ‬ ‫ﻗــﺪ ﺗﻮاﺟــﻪ اﻟﺤﻜﻮﻣــﺔ ﰲ ﺟﻬﻮدﻫــﺎ‬ ‫ﻟﺘﻨﻔﻴﺬﻫــﺎ‪ .‬ﻛــام رﻛــﺰ ﻋــﲆ أﻫﻤﻴــﺔ‬ ‫اﻟﺘﻌﻠﻴــﻢ واﻟﺘﺨﻄﻴــﻂ ﻟﺘﻮﻓــري ﻧﻈــﺎم‬ ‫ﺗﻌﻠﻴﻤــﻲ وﺗﺪرﻳــﺐ ﻋــﺎﱄ اﻟﺠــﻮدة‬ ‫ﻟﻠﺠﻤﻴــﻊ دون متﻴﻴــﺰ ﺿﻤــﻦ إﻃــﺎر‬ ‫ﻣﺆﺳــﴘ ﻳﺘﺴــﻢ ﺑﺎﻟﻜﻔــﺎءة واﻟﻌﺪاﻟــﺔ‬ ‫واﻻﺳــﺘﺪاﻣﺔ واﳌﺮوﻧــﺔ‪.‬‬ ‫ﺑﺎﻹﺿﺎﻓــﺔ إﱃ ذﻟــﻚ أوﺿــﺢ اﳌﺆمتــﺮ‬ ‫أﻫﻤﻴــﺔ ﻗﻴــﺎم ﻗﻄــﺎع اﻟﻄﺎﻗــﺔ ﺑﺎﻟﻮﻓــﺎء‬ ‫مبﺘﻄﻠﺒــﺎت اﻟﺘﻨﻤﻴــﺔ اﳌﺴــﺘﺪاﻣﺔ‬ ‫اﻟﻮﻃﻨﻴــﺔ وﺗﺤﻘﻴــﻖ أﻗــﴡ ﻗــﺪر‬ ‫ﻣــﻦ اﻟﻜﻔــﺎءة ﰲ اﺳــﺘﺨﺪام ﻣﺨﺘﻠــﻒ‬ ‫اﳌــﻮارد اﻟﺘﻘﻠﻴﺪﻳــﺔ واﳌﺘﺠــﺪدة‬ ‫اﻟﺘــﻲ ﺗﺴــﺎﻫﻢ ﰲ اﻟﻨﻤــﻮ اﻻﻗﺘﺼــﺎدي‬ ‫واﻟﻘــﺪرة اﻟﺘﻨﺎﻓﺴــﻴﺔ وﺗﺤﻘﻴــﻖ‬

‫اﻟﻌﺪاﻟــﺔ اﻻﺟﺘامﻋﻴــﺔ واﻟﺤﻔــﺎظ ﻋــﲆ‬ ‫ا ﻟﺒﻴﺌــﺔ ‪.‬‬ ‫ﺣــﴬ اﻻﺣﺘﻔــﺎل اﻟﺪﻛﺘــﻮر ﺧﺎﻟــﺪ‬ ‫ﻋﺒــﺪ اﻟﻐﻔــﺎر‪ ،‬وزﻳــﺮ اﻟﺘﻌﻠﻴــﻢ اﻟﻌــﺎﱄ‬ ‫واﻟﺒﺤــﺚ اﻟﻌﻠﻤــﻲ‪ ،‬واﻟﺪﻛﺘــﻮرة‬ ‫ﻫﺎﻟــﺔ اﻟﺴــﻌﻴﺪ‪ ،‬وزﻳــﺮة اﻟﺘﺨﻄﻴــﻂ‬ ‫واﳌﺘﺎﺑﻌــﺔ واﻹﺻــﻼح اﻹداري‪ ،‬و‬ ‫ﻓﺮاﻧﺴــﻴﺲ رﻳﺘﺸــﺎردوين‪ ،‬رﺋﻴــﺲ‬ ‫اﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ ﺑﺎﻟﻘﺎﻫــﺮة؛‬ ‫واﻟﺪﻛﺘــﻮر أﴍف ﺣﺎﺗــﻢ ﻣﺴﺘﺸــﺎر‬ ‫اﻟﺠﺎﻣﻌــﺔ ورؤﺳــﺎء اﻟﺠﺎﻣﻌــﺎت‬ ‫اﳌﴫﻳــﺔ اﳌﺸــﺎرﻛﺔ‬ ‫أﺿــﺎف اﺣﻤــﺪ اﺳــﻼم‪ ،‬ﻧﺎﺋــﺐ‬ ‫رﺋﻴــﺲ اﺗﺤــﺎد اﻟﻄــﻼب ﰲ ﺟﺎﻣﻌــﺔ‬ ‫ﺑﻨﻬــﺎ‪ «،‬ﻛﻨــﺖ ﺳــﻌﻴﺪا ﰲ اﻟﻴــﻮم اﻷول‬ ‫واﻧﺘﻈــﺮ اﻷﻳــﺎم اﻟﻘﻠﻴﻠــﺔ اﳌﻘﺒﻠــﺔ‬ ‫ﺑﻔــﺎرغ ”اﻟﺼــﱪ‪.‬‬ ‫ﻛﺎن اﻟﺘﻨﻈﻴــﻢ راﺋــﻊ وﺣﺴــﻦ‬ ‫اﻟﻀﻴﺎﻓــﺔ أﻳﻀــﺎ‪.‬‬ ‫آﻣــﻞ أن أﺣــﴬ اﳌﺰﻳــﺪ ﻣــﻦ‬ ‫اﳌﺆمتــﺮات ﻗﺮﻳﺒــﺎ ﰲ اﻟﺠﺎﻣﻌــﺔ‬ ‫ﺑﺎﻟﻘﺎﻫــﺮة‪.‬‬ ‫اﻷﻣﺮﻳﻜﻴــﺔ‬ ‫ﻛﺎن اﻟﺴــﺒﺐ وراء ﺟﻤــﻊ ﻃــﻼب‬ ‫ﻣــﴫ ﻣــﻦ ‪ ٣٠‬ﺟﺎﻣﻌــﺔ ﻣﺨﺘﻠﻔــﺔ‬ ‫ﻫــﻮ ﺗﻮﻋﻴﺘﻬــﻢ ﺑﺨﻄــﺔ ﻣــﴫ ﻧﺤــﻮ‬ ‫اﻟﺘﻨﻤﻴــﺔ اﳌﺴــﺘﺪاﻣﺔ وﺻﻨــﻊ ﻓﺮﺻــﺔ‬ ‫ﻟﻬــﻢ ﺣﻴــﺚ ميﻜﻨﻬــﻢ إﺑــﺪاء آراﺋﻬــﻢ‬ ‫و ﻋــﺮض ﻣﴩوﻋﺎﺗﻬــﻢ وأﻓﻜﺎرﻫــﻢ‬ ‫ﻟﺮؤﻳــﺔ أﻓﻀــﻞ ﳌــﴫ ﰲ ﻋــﺎم ‪.٢٠٣٠‬‬ ‫ﻛــام ﻋــﺰم اﳌﺆمتــﺮ ﻋــﲆ ﻓﻜــﺮة‬ ‫ﺗﺒــﺎدل اﻟﺤﻀــﺎرات ﺣﻴــﺚ ﺿــﻢ‬ ‫اﳌــﴩوع اﻟﻮاﺣــﺪ ﻣﺠﻤﻮﻋــﺔ ﻃــﻼب‬ ‫ﻣــﻦ ﻣﻨﺎﻃــﻖ ﻣﺨﺘﻠﻔــﺔ ﻋــﲆ ﻣــﺪار‬ ‫اﻟﺜﻼﺛــﺔ أﻳــﺎم‪.‬‬ ‫ﺗﻀﻤــﻦ ﺣﻔــﻞ اﻟﺨﺘــﺎم ﻋــﺮوض‬ ‫ﻃﻼﺑﻴــﺔ ﻷﻓﻀــﻞ ﻣــﴩوع ﰲ ﻣﺠــﺎﻻت‬ ‫ﻣﺘﻌــﺪدة‪ ،‬ﻣﺜــﻞ اﻟﺘﻌﻠﻴــﻢ‪ ،‬واﻟﻄﺎﻗــﺔ‪،‬‬ ‫واﻟﺒﻴﺌــﺔ‪ ،‬واﻻﻗﺘﺼــﺎد‪ ،‬ﻛــام ﺳــﻴﺘﻢ‬ ‫ﻧــﴩ ﺟﻤﻴــﻊ ﻣﻘﱰﺣــﺎت اﻟﻄــﻼب‬ ‫اﳌﺸــﺎرﻛني ﰲ ﻛﺘﻴــﺐ ﰲ ﻧﺴــﺨﺔ‬

‫ﻣﻄﺒﻮﻋــﺔ وإﻟﻜﱰوﻧﻴــﺔ‪.‬‬ ‫أﻋــﺮب اﻟﺪﻛﺘــﻮر ﻣﻌــﻮض اﻟﺨــﻮﱃ‪،‬‬ ‫رﺋﻴــﺲ ﺟﺎﻣﻌــﺔ اﳌﻨﻮﻓﻴــﺔ ﻋــﻦ‬ ‫ﺳــﻌﺎدﺗﻪ مبﺸــﺎرﻛﺔ ‪ ٤‬ﻃــﻼب ﻣــﻦ‬ ‫ﺟﺎﻣﻌــﺔ اﳌﻨﻮﻓﻴــﺔ ﰱ ﻣﺤــﺎور اﳌﺆمتــﺮ‬ ‫وﻓــﻮز ﻣﺠﻤﻮﻋــﺔ اﻟﻄﺎﻟــﺐ ﻋﺒــﺪ اﻟﻠــﻪ‬ ‫ﺻﻔــﻮت ﻣــﻦ »ﻋﻠــﻮم اﳌﻨﻮﻓﻴــﺔ«‬ ‫ﺑﻨﻤــﻮذج ﻣﺠﻠــﺲ اﻟــﻮزراء ﰱ ﻣﺠــﺎل‬ ‫اﻟﻄﺎﻗــﺔ وﻣﴩوﻋﻬــﻢ ﻋــﻦ اﺑﺘــﻜﺎر‬ ‫ﻣﺼــﺎدر ﺟﺪﻳــﺪة ﻟﻠﻄﺎﻗــﺔ ﰱ ﻣــﴫ‬ ‫ﻋﺮﺿــﺖ اﳌﺸــﺎرﻳﻊ ﺑﺎﻟﺤﻔــﻞ‬ ‫اﻟﺨﺘﺎﻣــﻲ أﻣــﺎم اﻟﺪﻛﺘــﻮرة ﻫﺎﻟــﺔ‬ ‫وزﻳــﺮة اﻟﺘﺨﻄﻴــﻂ‬ ‫اﻟﺴــﻌﻴﺪ‬ ‫واﳌﺘﺎﺑﻌــﺔ وﻣﺴﺘﺸــﺎري وزﻳــﺮ‬ ‫اﻟﺘﻌﻠﻴــﻢ اﻟﻌــﺎﱃ وﻣﺴﺘﺸــﺎر وزﻳــﺮ‬ ‫اﻟﺘﺨﻄﻴــﻂ ورؤﺳــﺎء اﻟﺠﺎﻣﻌــﺎت‬ ‫اﳌﺸــﺎرﻛﺔ ﰱ اﳌﻠﺘﻘــﻰ‪.‬‬ ‫ﻛــام ﻓــﺎزت ﻣﺠﻤﻮﻋــﺔ اﻟﻄﺎﻟﺒــﺔ‬ ‫إﴎاء اﻟﻔﻘــﻰ ﺑﻜﻠﻴــﺔ اﻵداب‬ ‫ﺑﺎﻟﺠﺎﻣﻌــﺔ مبﴩوﻋﻬــﻢ ﻋــﻦ‬ ‫اﻟﺘﺤﺪﻳــﺎت اﻟﺘــﻰ ﺗﻮاﺟــﻪ اﻟﺘﻌﻠﻴــﻢ‬ ‫اﻟﻔﻨــﻰ ﰱ ﻣــﴫ وﻋــﺮض أﻓــﻜﺎر‬ ‫ﺟﺪﻳــﺪة أﺷــﺎدت ﺑﻬــﺎ وزﻳــﺮة‬ ‫اﻟﺘﺨﻄﻴــﻂ واﳌﺘﺎﺑﻌــﺔ‪.‬‬ ‫ﴏﺣــﺖ اﻟﺪﻛﺘــﻮرة ﻫﺎﻟــﺔ اﻟﺴــﻌﻴﺪ‬ ‫وزﻳــﺮة اﻟﺘﺨﻄﻴــﻂ واﳌﺘﺎﺑﻌــﺔ‬ ‫واﻹﺻــﻼح اﻹداري‪» ،‬ﻧﺴــﻌﻰ‬ ‫ﻟﺘﺤﻘﻴــﻖ أﻫــﺪاف اﺳــﱰاﺗﻴﺠﻴﺔ‬ ‫ﻟﻠﺘﻨﻤﻴــﺔ اﳌﺴــﺘﺪاﻣﺔ ﻋــﻦ ﻃﺮﻳــﻖ‬ ‫ﺧﻠــﻖ ﻣــﴫ ﺟﺪﻳــﺪة ذات اﻗﺘﺼــﺎد‬ ‫ﺗﻨﺎﻓــﴘ وﻣﺘﻨــﻮع ﻛــام ﺗﻌﻤــﻞ ﻋــﲆ‬ ‫ﺗﺤﻘﻴــﻖ اﻟﺤامﻳــﺔ اﻻﺟﺘامﻋﻴــﺔ‬ ‫اﻟﻜﺎﻣﻠــﺔ واﻟﺘﻨﻤﻴــﺔ اﳌﺴــﺘﺪاﻣﺔ‬ ‫ﻟﺘﺤﺴــني ﺣﻴــﺎة اﳌﻮاﻃــﻦ اﳌــﴫي‬ ‫وﺧﻠــﻖ ﻣﺴــﺘﻘﺒﻞ أﻓﻀــﻞ ﻟﻸﺟﻴــﺎل‬ ‫اﻟﻘﺎدﻣــﺔ وﺗﻮﻓــري ﺣﻴــﺎة ﻛﺮميــﺔ‬ ‫ﻟﻬــﻢ ‪ .‬ﻓﺨﻄــﺔ ﻣــﴫ اﻟﺤﺎﻟﻴــﺔ ﺗﻀــﻊ‬ ‫ﻟﻠﺸــﺒﺎب واﳌــﺮأه ﺑﻌــني اﻻﻋﺘﺒــﺎر‬ ‫وﺗﻀﻌﻬــﻢ ﻋــﲆ رأس أوﻟﻮﻳﺎﺗﻬــﺎ‬ ‫وﻣﺒﺎ د ﺋﻬــﺎ ‪« .‬‬

‫ﻣﺆمتﺮ منﻮذج ﻣﺠﻠﺲ اﻟﻮزراء اﳌﴫي ﻟﻌﺎم ‪٢٠١٨‬‬

‫ﻋﻠــﻖ ﻣﺤﻤــﺪ ﺣﺠــﻲ‪ ،‬رﺋﻴــﺲ‬ ‫اﻟﻘﻤــﺔ‪» ،‬ﻫــﺪف اﻟﻘﻤــﺔ ﻫــﻮ ﻧــﴩ‬ ‫اﻟﺘﻮﻋﻴــﺔ ﻟﻮﺟــﻮد رؤﻳــﺔ ﳌــﴫ ﰲ‬ ‫ﻋــﺎم ‪٢٠٣٠‬و أن اﻟﺪوﻟــﺔ ﺗﺘﺒــﻊ‬ ‫ﺧﻄــﺔ ﻣﺤــﺪدة ﻃﻮﻳﻠــﺔ اﻷﻣــﺪ و‬

‫ﻫﺒﺔ ﻋﺒﺪاﻟﻮﻫﺎب‬

‫ﻛﻞ اﳌﺸــﺎرﻳﻊ اﻟﺘــﻲ ﺗﻘــﺎم ﺣﺎﻟﻴــﺎ‬ ‫ﻫــﻲ ﺟــﺰء ﻣــﻦ إﺳــﱰاﺗﻴﺠﻴﺔ ﻛﺒــرية‬ ‫ﻟﺘﻨﻤﻴــﺔ ﻣــﴫ‪«.‬‬ ‫ﺗﺄﺳــﺲ ﻫﻴﺌــﺔ ﻣﺠﻠــﺲ اﻟــﻮزراء‬ ‫اﳌــﴫي ﻧﺸــﺎ ﻃًﺎ ﻃﻼﺑﻴًــﺎ ﺑﺎﻟﺠﺎﻣﻌــﺔ‬

‫اﻷﻣﺮﻳﻜﻴــﺔ ﺑﺎﻟﻘﺎﻫــﺮة ﻋــﺎم ‪٢٠١١‬‬ ‫وﻳﻬــﺪف ﺑﺸــﻜﻞ رﺋﻴــﴘ إﱃ ﺗﻨﻤﻴــﺔ‬ ‫اﻟﻮﻋــﻲ اﻟﺴــﻴﺎﳼ ﻟــﺪى ﻣﺠﺘﻤــﻊ‬ ‫ﻃــﻼب اﻟﺠﺎﻣﻌــﺔ ﺑﺸــﻜﻞ ﺧــﺎص‪،‬‬ ‫واﳌﺠﺘﻤــﻊ اﳌــﴫي ﺑﺸــﻜﻞ ﻋــﺎم‪.‬‬


‫حلــول جذرية ألزمة العشــوائيات يف مصر‬

‫ص‪٢‬‬

‫معــرض نقــاط ال خطوط حمراء‬

‫ص‪٣‬‬

‫الـرجال «الـحـقيقيون» ال يضـربـون الـنـساء‬

‫ص‪٤‬‬

‫اﻷﺣﺪ ‪ ٤‬ﻣﺎرس‪ ٢.١٨ ،‬اﳌﺠﻠﺪ ‪ ٩٩‬اﻟﻌﺪد ‪١٠‬‬

‫أســــى وألــــم فـــي وداع أحــمـــد عــبـدالــعــزيـــز‬

‫إﺣــﺪي اﻟﺼــﻮر ﻟﻠﻄﺎﻟــﺐ أﺣﻤــﺪ ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ ﻣــﻦ ﺻﻔﺤﺘــﺔ ﻋــﲆ اﻟﻔﻴﺴــﺒﻮك‬ ‫تقرير‪ :‬دانيا عكاوي‬

‫ﻻزاﻟــﺖ اﻟﺠﺎﻣﻌــﺔ ﰲ أﳻ إﺛــﺮ وﻓــﺎة‬ ‫اﻟﻄﺎﻟــﺐ أﺣﻤــﺪ ﻋﺒﺪاﻟﻌﺰﻳــﺰ‪ ،‬ﰲ ﻋﺎﻣــﺔ‬ ‫اﻟﺜﺎﻟــﺚ ﺑﻘﺴــﻢ ﻫﻨﺪﺳــﺔ اﳌﻴﻜﺎﻧﻴﻜﻴــﺔ‪، ،‬‬ ‫ﰲ ﻣﺴﺘﺸــﻔﻰ اﻟﻘــﻮات اﻟﺠﻮﻳــﺔ ﻳــﻮم ‪٢٠‬‬ ‫ﻓﱪاﻳــﺮ ﺑﻌــﺪ أن ُوﺟــﺪ ﻓﺎﻗــﺪ اﻟﻮﻋــﻲ ﰲ‬ ‫ﺣــامم ﺳــﺒﺎﺣﺔ اﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ اﻟﻴــﻮم‬ ‫اﻟﺴــﺎﺑﻖ‪.‬‬ ‫ﻗﺎﻟــﺖ ﻧﻮﻳــﻞ ﻧﻴــﻞ‪ ،‬ﻣﺴــﺎﻋﺪ ﻧﺎﺋــﺐ‬

‫رﺋﻴــﺲ ﺧﺪﻣــﺎت اﻟﺠﺎﻣﻌــﺔ‪ ،‬ﻟﻠﻘﺎﻓﻠــﺔ‪» ،‬ﻛﻞ‬ ‫اﻟﺠﺎﻣﻌــﺔ ﺗﺸــﻌﺮ ﺑﺎﻟﺤــﺰن اﻟﻌﻤﻴﻖ ﺑﺴــﺒﺐ‬ ‫ﻫــﺬه اﻟﺨﺴــﺎرة اﳌﺄﺳــﺎوﻳﺔ‪ .‬ﻛﺄم‪ ،‬أﻧــﺎ ﻗﻠﺒــﻲ‬ ‫ﻣــﻊ ﻋﺎﺋﻠﺘــﻪ و أﺻﺪﻗﺎﺋــﻪ‪«.‬‬ ‫وﺻﻔــﺖ ﻣﺴــﺎﻋﺪة إﺣــﺪى أﺳــﺎﺗﺬة‬ ‫ﻋﺒﺪاﻟﻌﺰﻳــﺰ‪ ،‬آﻳــﺔ ﻏﺮاﻳــﺐ‪ ،‬ﻟﻠﻘﺎﻓﻠــﺔ ﻋــﻦ‬ ‫ﻛﻴــﻒ ﻛﺎن ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ ﻣــﻦ أﻓﻀــﻞ‬ ‫اﻟﻄــﻼب اﻟــﺬي ﻋﺮﻓﺘﻬــﻢ‪.‬‬ ‫ﻗﺎﻟــﺖ ﻏﺮاﻳــﺐ‪» ,‬ﻛﺎن ﺷــﺨﺺ ﺣﺮﻳــﺺ‬ ‫ﺟــﺪا ﻋــﲆ ﻛﻞ ﳾء‪ ،‬ﻣﺜــﻞ ﺗﻘﺎرﻳــﺮ اﳌﺨﺘــﱪ‬

‫واﻟﺪرﺟــﺎت‪ .‬ﰲ اﻟﻠﺤﻈــﺔ اﻟــﺬي ﻗــﺮأت أﻧــﻪ‬ ‫ﺗــﻮﰲ‪ ،‬أول ﳾء ﺧﻄــﺮ ﻋــﲆ ذﻫﻨــﻲ أﻧــﻪ‬ ‫ﻛﺎن ﻣــﻦ أﻛــرث اﻟﻄــﻼب ﺗﻬﺬﻳﺒـﺎً ‪«.‬‬ ‫ﺗﺤــﺪث ﻣﺤﻤــﺪ ﺟــامل‪ ،‬ﻧﺎﺋــﺐ اﻟﺮﺋﻴــﺲ‬ ‫اﻟﺴــﺎﺑﻖ ﻟﻌﻤﻠﻴﺎت ﻣﺆﺳﺴــﺔ اﻹﻧﺴــﺎن اﻵﱄ‬ ‫اﻟﻄﻼﺑﻴــﺔ اﻟﺘــﻲ ﻛﺎن ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ ﻣﺸــﱰﻛﺎً‬ ‫ﺑــﻪ‪ ،‬ﻣــﻊ اﻟﻘﺎﻓﻠــﺔ‪ ،‬ﻋــﻦ ﺑﻌــﺾ اﻷﺣــﺪاث ﰲ‬ ‫اﳌﺴﺘﺸــﻔﻰ‪ ،‬وﻛﻴــﻒ إﻟﺘﻘــﻰ ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ‬ ‫وﻣــﺎ ﻛﺎن ﻳﺘﻮﻗــﻊ ﻟــﻪ‪.‬‬ ‫ﺗﻮاﺻﻠــﺖ اﻟﻘﺎﻓﻠــﺔ ﻣــﻊ ﻣﺪﻳــﺮ ﻣﻜﺘــﺐ‬

‫أﻟﻌــﺎب اﻟﻘــﻮى‪ ،‬ﻟﻮﻳــﺰ ﺑﺮﻳﺘﻨــﻲ‪ ،‬اﻟــﺬي مل‬ ‫ﻳــﺮد ﺣﺘــﻰ اﻵن‪.‬‬ ‫ﻣــﻦ اﳌﺘﻮﻗــﻊ أن ﺗﻨﺘﻬــﻲ اﻟﺘﺤﻘﻴﻘــﺎت ﰲ‬ ‫ﺧــﻼل أﺳــﺒﻮﻋني‪.‬‬ ‫ﺗﺤــﺪث اﻷﺳــﺘﺎذ اﳌﺴــﺎﻋﺪ ﰲ اﻟﻬﻨﺪﺳــﺔ‬ ‫اﳌﻴﻜﺎﻧﻴﻜﻴــﺔ‪ ،‬ﻣﺤﻤــﺪ ﻓــﻮزي‪ ،‬ﻣــﻊ اﻟﻘﺎﻓﻠــﺔ‬ ‫ﻋــﻦ ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ اﻟــﺬي ﻛﺎن أﺣــﺪ‬ ‫ﺗﻼﻣﻴــﺬه‪.‬‬ ‫ﻗــﺎل ﻋــﲇ »ﻛﺎن ﻃﻴــﺐ ﺟــﺪا‪ ،‬ﻣﻤﺘــﺎز‪،‬‬ ‫وﻣﺤــﱰم‪ .‬أﻧــﺎ أﺣﺒــﻪ ﻛﺜــريا‪ .‬وﻛﺎن اﺳــﻤﻪ‬ ‫اﻷول ﰲ ﻗﺎمئــﺔ اﻟﺤﻀــﻮر‪ .‬ﺳــﻮف أﺗــﺮك‬ ‫اﺳــﻤﻪ ﻫﻨــﺎك وأﺧــﱪت أﺻﺪﻗﺎﺋــﻪ أﻧﻨــﻲ‬ ‫ﻟــﻦ أزﻳﻠــﻪ‪ .‬ﺳــﺄﺗﺮﻛﻪ ﺣﺘــﻰ ﻧﻬﺎﻳــﺔ اﻟﻔﺼــﻞ‬ ‫اﻟــﺪراﳼ‪» .‬‬ ‫وأﺿــﺎف ﻋــﲇ أن ﻋﺒﺪاﻟﻌﺰﻳــﺰ ﻛﺎن واﺣﺪا‬ ‫ﻣــﻦ اﻟﻄــﻼب اﻷذﻛﻴــﺎء ﰲ ﺻﻔﻪ‪.‬‬ ‫ﻗــﺎل ﻋــﲇ‪» ،‬ﻛﺎن ﻟــﻪ ﺷــﻌﻮر ﻫﻨــﺪﳼ‬ ‫ﺟﻴــﺪ ﺟــﺪا وﻛﻨــﺎ ﻧﺘﺤــﺪث ﻛﺜــريا ﺧــﻼل‬ ‫اﳌﺤــﺎﴐات‪ .‬وﻫــﻮ ﻧﺸــﻴﻂ ﺟــﺪا‪ .‬أﻧــﻪ‬ ‫ﻟﻴــﺲ اﻟﺸــﺨﺺ اﻟﺨﺠــﻮل اﻟــﺬي ﻳﺠﻠــﺲ‬ ‫دون اﻟﺤﺪﻳــﺚ‪ .‬ﻳﺴــﺄل اﻟﻜﺜــري ﻣــﻦ‬ ‫اﻷﺳــﺌﻠﺔ‪ .‬إﻋﺘــﺪت ﻣﻨﺎﻗﺸــﺘﻪ ﺣﻮل اﻷﺳــﺌﻠﺔ‬ ‫وأﻋﻄــﺎه إﺟﺎﺑــﺎت ﻣﻀﺤﻜــﺔ ﺣﺘــﻰ ﻳﺘﻤﻜــﻦ‬ ‫ﻣــﻦ ﺗﺬﻛﺮﻫــﺎ‪«.‬‬ ‫ﻋــﲆ اﻟﺮﻏــﻢ ﻣــﻦ أن ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ ﺗــﺮك‬ ‫ﻣﺆﺳﺴــﺔ اﻹﻧﺴــﺎن اﻵﱄ ﰲ ﻫــﺬا اﻟﻔﺼــﻞ‬ ‫اﻟــﺪراﳼ‪ ،‬ﻛﺎن ﻳﻌﻤــﻞ ﻣــﻊ ﺟــامل ﰲ‬ ‫ﺗﻨﻈﻴــﻢ ﻣﺴــﺎﺑﻘﺔ ‪ ،ROV‬وﻫــﻲ ﻣﺴــﺎﺑﻘﺔ‬ ‫ﻟﺘﺼﻤﻴــﻢ اﻟﺮوﺑﺘــﺎت‪ .‬وأوﺿــﺢ ﺟــامل أﻧــﻪ‬ ‫اﻟﺘﻘــﻰ ﺑﻌﺒــﺪ اﻟﻌﺰﻳــﺰ ﻗﺒــﻞ ﻋﺎﻣــني ﻋﻨﺪﻣــﺎ‬ ‫ﻛﺎﻧــﻮا ﻳﻌﻤﻠــﻮن ﻋــﲆ ﻧﻔــﺲ اﳌــﴩوع‪.‬‬ ‫ﻗــﺎل ﺟــامل‪» ،‬ﻛﺎن ﺷــﺨﺼﺎ ﻃﻴﺒــﺎ ﺟــﺪا‪،‬‬ ‫ومل ﻳــﴬ أﺣــﺪا‪ ،‬وﻛﺎن ﻳﻌــﺮف اﻟﻜﺜــري‬ ‫ﻣــﻦ اﻟﻨــﺎس‪ ،‬وﻛﺎن ﺷــﺨﺼﺎً ﺧﻠﻮﻗــﺎ ذﻛﻴــﺎ‬ ‫أﻛﺎدميﻴــﺎ‪ ،‬ودامئــﺎ ﻛﺎن ﻳﺤــﺎول ﺗﺼﺤﻴــﺢ ﻣــﺎ‬ ‫ﻳﺠــﺪه ﺧﻄــﺄ‪«.‬‬ ‫ذﻛــﺮ ﺟــامل ﻳﻮﻣــﺎ ﻛﺎن ﻓﻴــﻪ ﻋﺒــﺪ اﻟﻌﺰﻳﺰ‬ ‫اﻟﻮﺣﻴــﺪ اﻟــﺬي ﻳﻘــﻮد وﻣﻌــﻪ ﺳــﻴﺎرة وﻗــﺮر‬ ‫أن ميــﺮ ﻋﻠﻴــﺔ وﻋــﲆ أﺻﺪﻗــﺎء آﺧﺮﻳــﻦ ﰲ‬ ‫رﺣﻠــﺔ إﱃ اﻟﻘﻄﺎﻣﻴــﺔ‪.‬‬ ‫وﻗــﺎل ﺟــامل‪» ،‬أﺧﺬﻧــﺎ ﻧﺰﻫــﺔ ﻋــﲆ‬

‫اﻟﺠﺒــﻞ‪ ،‬ﻗــﺎم ﺑﺪﻓــﻊ اﻟﺤﺴــﺎب ﻟﻨــﺎ‬ ‫ﺟﻤﻴﻌــﺎً‪«.‬‬ ‫ﻳﻘــﻮد ﻧﺎﺋــﺐ اﻟﺮﺋﻴــﺲ اﻟﺘﻨﻔﻴــﺬي ﻟــﻺدارة‬ ‫واﳌﺎﻟﻴــﺔ‪ ،‬ﺑﺮﻳــﺎن ﻣﺎﻛﺪوﻏــﺎل‪ ،‬ﺣﺎﻟ ًﻴــﺎ ﺗﺤﻘﻴﻘًﺎ‬ ‫ﻛﺎﻣـ ًـﻼ ﰲ اﻟﺤﺎدﺛــﺔ وﻗــﺪ ﺗــﻢ إﻏــﻼق ﺣــامم‬ ‫اﻟﺴــﺒﺎﺣﺔ ﺣﺘــﻰ إﺷــﻌﺎرا ً آﺧــﺮ‪.‬‬ ‫ﻋــﲆ اﻟﺮﻏــﻢ ﻣــﻦ رﻓــﺾ ﻣﺎﻛﺪوﻏــﺎل‬ ‫اﻟﺘﻌﻠﻴــﻖ ﻋــﲆ اﻟﺤــﺎدث ﺣﺘــﻰ اﻛﺘــامل‬ ‫اﻟﺘﺤﻘﻴــﻖ‪ ،‬ﺗﺤﺪﺛــﺖ اﻟﻘﺎﻓﻠــﺔ ﻣــﻊ ﻛﺮﻳــﻢ‬ ‫اﳌﻨﻄــﺎوي‪ ،‬وﻫــﻮ ﺷــﺎﻫﺪ ﻋﻴــﺎن ﻛﺎن ﰲ‬ ‫ﺣــامم اﻟﺴــﺒﺎﺣﺔ ﻋﻨــﺪ وﻗــﻮع اﻟﺤﺎدﺛــﺔ‪.‬‬ ‫ﻗــﺎل اﳌﻨﻄــﺎوي‪» ،‬اﻟﻮﻟــﺪ ﻏﻄــﺲ‬ ‫و ﻣﻄﻠﻌــﺶ ‪« .‬‬ ‫أﺿــﺎف اﳌﻨﻄــﺎوي أﻧــﻪ ﻛﺎن ﻣــﻊ إﺛﻨــني‬ ‫ﻣــﻦ أﺻﺪﻗﺎﺋــﻪ ﰲ ﺣــامم اﻟﺴــﺒﺎﺣﺔ ﻋﻨﺪﻣــﺎ‬ ‫ﻻﺣﻈــﻮا ﻏــﺮق ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ ودﻋــﻮا‬ ‫اﻟﺤــﺎرس‪ ،‬اﻟــﺬي ﻛﺎن ﺣــﺎﴐا ﰲ ﺣــامم‬ ‫اﻟﺴــﺒﺎﺣﺔ ﻣــﻊ ﻣﺠﻤﻮﻋــﺔ اﻹﺳــﻌﺎﻓﺎت‬ ‫ﺟﺎﻫــﺰة‪ ،‬ﺑﺎﻹﺿﺎﻓــﺔ إﱃ ﺟﻬــﺎز ﺻﺪﻣــﺔ‬ ‫ﻛﻬﺮﺑﺎﺋﻴــﺔ ﻛــام ﻇــﻦ اﳌﻨﻄــﺎوى‪.‬‬ ‫ﻗــﺎل اﳌﻨﻄــﺎوي‪» ،‬رد اﻟﺤــﺎرس ﻓــﻮرا‬ ‫وأﺧــﺬ ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ ﻣــﻦ ﺣــامم اﻟﺴــﺒﺎﺣﺔ‬ ‫وﺑــﺪأ اﻹﺳــﻌﺎﻓﺎت‪«.‬‬ ‫أﺿــﺎف اﳌﻨﻄــﺎوي أﻧــﻪ ﺗــﻢ اﺳــﺘﺪﻋﺎء‬ ‫اﻟﻌﻴــﺎدة و اﳌﻤﺮﺿــﺔ ﰲ أﻗــﻞ ﻣــﻦ دﻗﻴﻘﺘني‬ ‫ﻷداء اﻹﻧﻌــﺎش اﻟﻘﻠﺒــﻲ‪.‬‬ ‫ﻗــﺎل اﳌﻨﻄــﺎوي أن اﻟﻌﻴــﺎدة أرﺳــﻠﺖ‬ ‫ﺳــﻴﺎرة إﺳــﻌﺎف وﻃﺒﻴ ًﺒــﺎ ﺑﴪﻋــﺔ ﻛــام‬ ‫ﺗﻮاﺟــﺪ ﻣﻮﻇﻔــﻲ اﻟﻌﻴــﺎدات وأﻓـﺮاد اﻷﻣــﻦ‬ ‫وﻣﺴــﺆوﻟﻮن ﻣــﻦ اﻟﺠﺎﻣﻌــﺔ‪.‬‬ ‫ﻧــﴩت ﺻﺤﻴﻔــﺔ »اﻟﻴــﻮم اﻟﺴــﺎﺑﻊ«‬ ‫اﳌﴫﻳــﺔ ﻳــﻮم ‪ ٢٧‬ﻓﱪاﻳــﺮ أن اﻟﻨﻴﺎﺑــﺔ ﻗــﺮرت‬ ‫ﺣﺒــﺲ ﻣﻨﻘــﺬ ﺣــامم اﻟﺴــﺒﺎﺣﺔ ﳌﺪة ﺳــﺘﺔ‬ ‫أﺷــﻬﺮ ﺑﻌــﺪ اﺗﻬﺎﻣــﻪ ﺑﺎﻹﻫــامل وﻣــﻮت ﻋﺒﺪ‬ ‫اﻟﻌﺰﻳــﺰ‪.‬‬ ‫ﴎﻋــﺔ اﻟﻌﻴــﺎدة‪ ،‬ﴎﻋــﺔ اﻟﺤــﺎرس ﰲ‬ ‫ﺗﻄﺒﻴــﻖ اﻹﺳــﻌﺎﻓﺎت‪ ،‬اﻟﻮﻗــﺖ اﻟــﺬي أﺧﺬﺗﻪ‬ ‫ﺳــﻴﺎرة إﺳــﻌﺎف ﻟﻠﻮﺻــﻮل‪ ،‬اﻟﻮﻗــﺖ اﻟــﺬي‬ ‫ﻛﺎن ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ ﺗﺤــﺖ اﳌﺎء ﻛﻠﻬــﺎ ﻋﻮاﻣﻞ‬ ‫ﺗُــﺪرس ﰲ اﻟﺘﺤﻘﻴــﻖ اﻟﺠــﺎري‪.‬‬ ‫ﻗــﺎل ﺟــامل‪» ،‬ﺑﻘﻴــﺖ ﺣﺘــﻰ اﻟﺴــﺎﻋﺔ‬

‫‪ ١١‬ﻣﺴــﺎءا ﻣــﻊ واﻟــﺪه ]ﰲ اﳌﺴﺘﺸــﻔﻰ[‬ ‫وﺑــﺪأ أﺻﺪﻗــﺎء آﺧــﺮون ﻳﺄﺗــﻮن أﻳﻀــﺎ‪ .‬ﻛﻨــﺎ‬ ‫ﻧﺤــﺎول ﻓﻬــﻢ ﻣــﺎ ﺣــﺪث ووﺿــﻊ أﺣﻤــﺪ‪.‬‬ ‫ﰲ اﻟﺒﺪاﻳــﺔ‪ ،‬ﺗﻮﻗــﻒ ﻗﻠﺒــﻪ‪ ،‬ﺛــﻢ ﺑــﺪأت‬ ‫ﴐﺑــﺎت اﻟﻘﻠــﺐ ﺗﻌــﻮد ﻣــﺮة أﺧــﺮى‪.‬‬ ‫ﻗﺎﻣــﻮا ﺑﺄﺷــﻌﺔ ﻣﻘﻄﻌﻴــﺔ ﻋــﲆ رأﺳــﻪ‪ ،‬ومل‬ ‫ﻳﻜــﻦ ﻫﻨــﺎك ﻧﺸــﺎط ﰲ اﻟــﺮأس‪ ،‬و ﺑﻌﺪﻫــﺎ‬ ‫اﻛﺘﺸــﻔﻮا وﺟــﻮد ﻣــﺎء داﺧــﻞ اﻟــﺮأس‪«.‬‬ ‫ﻗــﺎل ﺟــامل أن واﻟــﺪ ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ ﺑﻘــﻰ‬ ‫ﰱ اﳌﺴﺘﺸــﻔﻰ ﻃــﻮال اﻟﻠﻴــﻞ ﻋــﲆ ﻛــﺮﳼ‬ ‫ﺑــﺪون ﻣــﻜﺎن آﺧــﺮ ﻟﻠﺠﻠــﻮس‪.‬‬ ‫أﺿــﺎف أن اﻷﺻﺪﻗــﺎء ﻛﺎﻧــﻮا ﻳﺘﺒﺎدﻟــﻮن‬ ‫اﳌﻮاﻋﻴــﺪ ﺑﺤﻴــﺚ ﻳﻜــﻮن ﻫﻨــﺎك ﺷــﺨﺺ‬ ‫ﻣﻌــﻪ دامئــﺎ‪ .‬وﻣــﻊ ذﻟــﻚ‪ ،‬ﺗــﻮﰲ ﻋﺒــﺪ‬ ‫اﻟﻌﺰﻳــﺰ ﰲ ﺻﺒــﺎح اﻟﻴــﻮم اﻟﺘــﺎﱄ‪.‬‬ ‫ﻗــﺎل اﳌﻨﻄــﺎوي‪» ،‬ﰲ ﺗﺤﻘﻴــﻖ اﻟﺠﺎﻣﻌــﺔ‪،‬‬ ‫ﻳﺠﻤﻌــﻮن أﻗــﻮال ﺷــﻬﻮد اﻟﻌﻴــﺎن و ﻓﻴﺪﻳــﻮ‬ ‫ﻳﺒــني دﺧــﻮل ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ اﻟﺠﺎﻣﻌــﺔ‬ ‫ودﺧﻮﻟــﻪ ﻣﺒﻨــﻰ اﻟﺮﻳﺎﺿــﺔ وﻣﺮاﻓﻘﻴــﻪ ﰲ‬ ‫ذﻟــﻚ اﻟﻮﻗــﺖ واﻟﻮﻗــﺖ اﻟــﺬي أﺧﺬﺗــﻪ‬ ‫اﻟﻌﻴــﺎدة ﻟﻠﻮﺻــﻮل إﱃ ﻣــﻜﺎن اﻟﺤــﺎدث‬ ‫واﻟﻮﻗــﺖ اﻟــﺬي أﺧﺬﺗــﻪ ﺳــﻴﺎرة اﻹﺳــﻌﺎف‬ ‫ﻟﻠﻮﺻــﻮل وﺗﺤﻘﻴﻘــﺎت ﻋــﻦ ﻛﻞ ﳾء ﺣﺪث‬ ‫ﺣﻴﻨﻬــﺎ وﻳﻜﺘﺒــﻮا اﻟﺘﻘﺎرﻳــﺮ اﳌﻔﺼﻠــﺔ‪«.‬‬ ‫أوﺿــﺢ ﻣﻨﻄــﺎوي أن ﻧﻴــﺔ ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ‬ ‫ﻛﺎﻧــﺖ اﻟﻐــﻮص‪.‬‬ ‫أﻛــﺪت ﻋﺎﺋﻠــﺔ وأﺻﺪﻗــﺎء ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ‬ ‫ﻟﻠﻤﻨﻄــﺎوي أن ﻋﺒــﺪ اﻟﻌﺰﻳــﺰ ﻛﺎن ﻳﺤــﺐ‬ ‫اﻟﻐــﻮص ﺗﺤــﺖ اﳌــﺎء‪.‬‬ ‫ﻗــﺎل اﳌﻨﻄــﺎوي‪» ،‬أﻧــﺎ ﻻ أﻋــﺮف إذا ﻛﺎن‬ ‫ميــﺎرس اﻟﻐــﻮص أو ﻻ‪ ،‬وﻟﻜــﻦ ﻣــﺎ ﻓﻬﻤﺘــﻪ‬ ‫أﻧــﻪ ﻳﺤــﺐ اﻟﻐــﻮص ﺗﺤــﺖ اﳌــﺎء ﻛﺜ ـريا‪«.‬‬ ‫أوﻗﻔــﺖ ﺑﻌــﺾ اﳌﺆﺳﺴــﺎت اﻟﻄﻼﺑﻴــﺔ‬ ‫أﻧﺸــﻄﺘﻬﺎ ﺑﻌــﺪ اﻟﺤــﺎدث اﻷﻟﻴــﻢ ﻣﺜــﻞ‬ ‫»‪ «Glow‬و » اﻟﻨﻤــﻮذج اﻟــﺪوﱄ ﻟﻠﺠﺎﻣﻌــﺔ‬ ‫اﻟﻌﺮﺑﻴــﺔ« )‪ (CIMAL‬ﻋــﲆ أﻣــﻞ أن‬ ‫ﺗﻌﻄــﻲ اﻹدارة ردًا ﻋــﲆ اﳌﺄﺳــﺎة ﰲ أﻗــﺮب‬ ‫وﻗــﺖ ﻣﻤﻜﻦ ﺑﻌــﺪ اﺳــﺘﻜامل اﻟﺘﺤﻘﻴﻘﺎت‪.‬‬ ‫ﺧﻔﻀــﺖ اﻟﺠﺎﻣﻌــﺔ ﺟﻤﻴــﻊ اﻷﻋــﻼم إﱃ‬ ‫اﻟﻨﺼــﻒ ﻳــﻮم ‪ ٢٠‬ﻓﱪاﻳــﺮ ﺣــﺪادًا ﻋــﲆ‬ ‫وﻓــﺎة اﻟﻄﺎﻟــﺐ‪.‬‬

‫مركــز جــون جرهــارت يعــزز التواصــل بني الطــاب و األخصائيني‬ ‫تقرير‪ :‬هبة عبدالوهاب‬

‫ﻧﻈــﻢ ﻣﺮﻛــﺰ ﺟــﻮن د‪ .‬ﻏريﻫــﺎرت ﰲ‬ ‫ﴍاﻛــﺔ ﻣــﻊ ﻣﻨﻈﻤــﺔ ﻛــري اﻟﺪوﻟﻴــﺔ ﻳــﻮم‬ ‫اﻷﺧﺼﺎﺋﻴــني اﻻﺟﺘامﻋﻴــني ﻟﺘﺤﺴــني‬ ‫اﻟﺘﻮاﺻــﻞ ﺑــني اﻷﻃﻔــﺎل اﳌﴫﻳــني‬ ‫واﻟﺴــﻮرﻳني إﱃ اﻟﺘﻌﻠﻴــﻢ اﻟﺮﺳــﻤﻲ‬ ‫واﳌﺠﺘﻤﻌــﻲ‪.‬‬ ‫ﻳﻌﻤــﻞ ﻣﺮﻛــﺰ ﺟﺮﻫــﺎرت ﻣــﻊ ﻓﺌــﺎت‬ ‫ﻣﺨﺘﻠﻔــﺔ ﻣــﻦ اﻹدارﻳــني واﻟﻌﺎﻣﻠــني‬ ‫وأﻳﻀً ــﺎ اﻟﺸــﺒﺎب ﰲ ﻣﺠــﺎل اﻟﺘﻨﻤﻴــﺔ‬ ‫اﳌﺠﺘﻤﻌﻴــﺔ ﻋــﻦ ﻃﺮﻳــﻖ ﻣﺨﺘﻠــﻒ‬ ‫اﳌﺸــﺎرﻳﻊ‪ ،‬ﻣــﻦ ﺿﻤﻨﻬــﺎ ﻣــﴩوع ﻫﻴﺌــﺔ‬ ‫ﻛــري اﻟﺪوﻟﻴــﺔ اﻟــﺬي ﻳﻬــﺪف إﱃ ﺧﻠــﻖ‬ ‫ﺑﻴﺌــﺔ ﺗﻌﻠﻴﻤﻴــﺔ آﻣﻨــﺔ ﻟﻠﻄــﻼب اﳌﴫﻳــني‬ ‫واﻟﺴــﻮرﻳني داﺧــﻞ اﳌــﺪارس اﻟﺤﻜﻮﻣﻴــﺔ‬ ‫اﳌﴫﻳــﺔ‪.‬‬ ‫ﻛــري ﻫــﻲ ﻣﻨﻈﻤــﺔ إﻧﺴــﺎﻧﻴﺔ ﳌﺤﺎرﺑــﺔ‬ ‫اﻟﻔﻘــﺮ ﰲ اﻟﻌــﺎمل‪ .‬ﺗﻌﻤــﻞ ﻋــﲆ ﻣﻌﺎﻟﺠــﺔ‬ ‫اﻷﺳــﺒﺎب اﻟﻜﺎﻣﻨــﺔ وراء اﻟﻔﻘــﺮ ﻣــﻊ‬ ‫اﻟﱪاﻣــﺞ اﻟﺘــﻲ ﺗﺮﻛــﺰ ﻋــﲆ اﻟﻔﺘﻴــﺎت و‬ ‫اﻟﻨﺴــﺎء‪ .‬ﻣﻬﻤﺘﻬــﺎ ﻫــﻲ ﺧﺪﻣــﺔ اﻷﻓــﺮاد‬ ‫واﻷﴎ ﰲ اﳌﺠﺘﻤﻌــﺎت اﻷﻛــرث ﻓﻘــ ًﺮا‬ ‫ﰲ اﻟﻌــﺎمل وﻧﻔــﺬت ﻫﻴﺌــﺔ ﻛــري ‪٩٦٢‬‬ ‫ﻣﴩو ًﻋــﺎ ﰲ اﻟﺘﻨﻤﻴــﺔ واﻹﻏﺎﺛــﺔ اﻹﻧﺴــﺎﻧﻴﺔ‪،‬‬ ‫ﺑﻬــﺪف ﻣﻜﺎﻓﺤــﺔ اﻟﻔﻘــﺮ‪ ،‬ووﺻﻠــﺖ ﺗﻠــﻚ‬ ‫اﻹﻏﺎﺛــﺎت إﱃ أﻛــرث ﻣــﻦ ‪ ٨٠‬ﻣﻠﻴــﻮن‬ ‫ﺷــﺨﺺ ﻣﺒــﺎﴍة ﻛــام أوﺿــﺢ اﳌﻮﻗــﻊ‬ ‫اﻟﺮﺳــﻤﻲ ﻟﻠﻬﻴﺌــﺔ‪.‬‬ ‫ﻳﻬــﺪف اﻟﺘﺪرﻳــﺐ إﱃ ﺗﻄﻮﻳــﺮ ﻗــﺪرات‬ ‫اﻷﺧﺼﺎﺋﻴــني اﻻﺟﺘامﻋﻴــني ﰲ ﺳــﺖ‬

‫ﻣــﺪارس ﺣﻜﻮﻣﻴــﺔ ﰲ ﻣﺪﻳﻨــﺔ اﻟﻌﺒــﻮر‬ ‫وأﺧــﺮى ﰲ اﻟــﴩوق اﻟﻌﻤــﻞ ﻣــﻊ‬ ‫اﻷﻃﻔــﺎل وﺗﻴﺴــري ﺟﻠﺴــﺎت ﺗﻔﺎﻋﻠﻴــﺔ‬ ‫ﻟﺘﻄﻮﻳــﺮ اﳌﻬــﺎرات اﻟﺤﻴﺎﺗﻴــﺔ ﻟﻸﻃﻔــﺎل‬ ‫واﳌﻬــﺎرات اﻟﻌﻘﻠﻴــﺔ‬ ‫مبــﺎ ﰲ ذﻟــﻚ‪ -‬ﻋــﲆ ﺳــﺒﻴﻞ اﳌﺜــﺎل‬ ‫ﺟﻠﺴــﺎت إدارة اﻟﻐﻀــﺐ واﻟﻼﻋﻨــﻒ‬‫وﺗﻘﺒــﻞ اﻵﺧــﺮ واﺗﺒــﺎع اﻟﺘﻔﻜــري اﻟﻌﻠﻤــﻲ‬ ‫ﻟﺤــﻞ اﳌﺸــﺎﻛﻞ‪.‬وﺗﻌﻤﻞ اﻟﺘﺪرﻳﺒــﺎت أﻳﻀً ــﺎ‬ ‫ﻋــﲆ اﻟﺘﻌﺎﻣــﻞ ﻣــﻊ اﻟﻄــﻼب وﺗﻌﺰﻳــﺰ‬ ‫اﻟﺘﻮاﺻــﻞ ﺑﻴﻨﻬــﻢ و ﺑــني ﻫﻴﺌــﺔ اﻟﺘﺪرﻳــﺲ‬ ‫ﻋﺎﻣــﺔ واﻷﺧﺼﺎﺋﻴــني اﻻﺟﺘامﻋﻴــني ﺧﺎﺻــﺔ‬ ‫ﻟﻀــامن اﻻﺳــﺘﻤﺮارﻳﺔ‪ .‬اﻟﺘﻮﻋﻴــﺔ و‬ ‫اﻻﺳــﺘﻔﺎدة ﺑﻌــﺪ اﻧﺘﻬــﺎء اﻟﺤﻤﻠــﺔ‬ ‫ﻗﺎﻟــﺖ روﻻ ﻃــﺎرق‪ ،‬ﻣﻨﺴــﻖ ﻣﴩوﻋــﺎت‬ ‫اﳌﺸــﺎرﻛﺔ اﻟﺸــﺒﺎﺑﻴﺔ ﰲ ﻣﺮﻛــﺰ ﺟﺮﻫــﺎرت‬ ‫ﺑﺎﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ‪ «،‬ﻣﺮﻛــﺰ ﺟﺮﻫــﺎرت‬ ‫اﺷــﺘﻐﻞ ﺑﺸــﻜﻞ أﺳــﺎﳼ ﰲ ﻣﻨﻄﻘــﺔ‬ ‫اﻟﻌﺒــﻮر ﻣــﻊ ﺳــﺖ ﻣــﺪارس ﺣﻜﻮﻣﻴــﺔ‪،‬‬ ‫وﻋﻤﻠﻨــﺎ ﻣﻊ‪٦٠٠‬ﻃﺎﻟــﺐ وﻃﺎﻟﺒــﺔ ﻋــﻦ‬ ‫ﻃﺮﻳــﻖ اﻟﻌﻤــﻞ ﻣــﻊ ‪٤٠‬ﻣﺘﻄﻮ ًﻋــﺎ ﻣــﻦ‬ ‫اﻟﺠﺎﻣﻌــﺎت اﳌﴫﻳــﺔ ﻟﻠﻌﻤــﻞ ﻣــﻊ‬ ‫اﻟﻄــﻼب ﰲ إﺟــﺎزة ﻧﺼــﻒ اﻟﺴــﻨﺔ‪،‬‬ ‫ﻋــﲆ ﻗﻴــﻢ وأﻧﺸــﻄﺔ ﻣﺘﻌﻠﻘــﺔ ﺑﺎﻟﺪﻣــﺞ‬ ‫واﻟﺘﻌﺎﻳــﺶ واﻟﺘﻌﺎﻣــﻞ ﻣــﻊ اﻟﻐﻀــﺐ‬ ‫وﺣــﻞ اﳌﺸــﺎﻛﻞ«‪.‬‬ ‫أﺻﺒــﺢ اﻷﻃﻔــﺎل أﻛــرث وﻋﻴٍّــﺎ مبﺸــﺎﻋﺮﻫﻢ‬ ‫و ﺗﻌﺎﻣﻠﻬــﻢ ﻣــﻊ اﻵﺧــﺮ ﻣــﻦ ﺣﻴــﺚ‬ ‫اﻟﻨــﻮع واﻟﺠﻨﺴــﻴﺔ واﻻﻧﺪﻣــﺎج ﻋــﻦ‬ ‫ﻃﺮﻳــﻖ ﻧﺒــﺬ اﻟﻌﻨــﻒ و ﻧﺸــﻄﺔ دﻣــﺞ‬ ‫ﺑــني اﻷﻃﻔــﺎل اﻟﺴــﻮرﻳني و اﳌﴫﻳــني ﻣــﻦ‬

‫اﺑﻨــﺎء وﺑﻨــني ﻓﻘــﺪ ﻛﺎﻧــﺖ ﻧﺘﺎﺋــﺞ اﻟﺤﻤﻠــﺔ‬ ‫ﻣﻠﺤﻮﻇــﺔ‪ .‬وﻟﻼﺳــﺘﻤﺮارﻳﺔ ﺗــﻢ ﺗﺪرﻳــﺐ‬ ‫اﻷﺧﺼﺎﺋﻴــني ﻟﻀــامن ﺗﻜﻤﻠــﺔ اﳌــﴩوع‬ ‫ﺑﻌــﺪ اﻧﺘﻬــﺎء اﻟﺤﻤﻠــﺔ واﻟﻮﺻــﻮل ﻷﻛــﱪ‬ ‫إﻓــﺎدة ﻟﻸﻃﻔــﺎل‪.‬‬ ‫أﻧــﴚء ﻣﺮﻛــﺰ ﺟــﻮن ﺟﺮﻫــﺎرت ﰲ‬ ‫ﻋــﺎم ‪٢٠٠٦‬ﻟﻸﻋــامل اﻟﺨريﻳــﺔ واﳌﺸــﺎرﻛﺔ‬ ‫اﳌﺪﻧﻴــﺔ ﺗﻜﺮميًــﺎ ﻟﺬﻛــﺮى ﺟــﻮن‬ ‫د‪.‬ﺟﺮﻫــﺎرت‪ ،‬اﻟﺮﺋﻴــﺲ اﻟﺴــﺎﺑﻖ ﻟﻠﺠﺎﻣﻌــﺔ‬ ‫اﻷﻣﺮﻳﻜﻴــﺔ ﺑﺎﻟﻘﺎﻫــﺮة‪.‬‬ ‫ﻳﻌﻤــﻞ اﳌﺮﻛــﺰ ﻋــﲆ ﺗﺠﻤﻴــﻊ أﻧﺸــﻄﺔ‬ ‫اﻟﺠﺎﻣﻌــﺔ اﻟﺘــﻲ ﺗﻬــﺪف إﱃ ﺗﺸــﺠﻴﻊ‬ ‫اﻟﻨﺸــﻄﺎء ﰲ اﻟﺨﺪﻣــﺔ اﻟﻌﺎﻣــﺔ واﳌﺸــﺎرﻛﺔ‬ ‫اﳌﺪﻧﻴــﺔ ﻟﺘﻌﺰﻳــﺰ اﻟﻌﻄــﺎء ﰲ اﳌﻨﻄﻘــﺔ‬ ‫اﻟﻌﺮﺑﻴــﺔ‪ .‬ﻳﺠﻤــﻊ اﳌﺮﻛــﺰ ﺑــني ﺧﺪﻣــﺎت‬ ‫اﻟﺘﻌﻠﻴــﻢ واﻟﺒﺤــﻮث واﻟﺘﻤﻜــني ﺣﻴــﺚ‬ ‫ﻳﺴــﻌﻰ إﱃ ﺗﻮﺳــﻴﻊ ﻣﻔﻬــﻮم اﻟﻌﻤــﻞ‬ ‫اﻟﺨــريي ﻟﻴﺸــﻤﻞ اﻟﻌﺪاﻟــﺔ اﻻﺟﺘامﻋﻴــﺔ‬ ‫واﻟﺘﻨﻤﻴــﺔ‪.‬‬ ‫ﻳﻨــﺪرج اﳌﺮﻛــﺰ ﺗﺤــﺖ ﻛﻠﻴــﺔ إدارة‬ ‫اﻷﻋــامل ﺑﺎﻟﺠﺎﻣﻌــﺔ اﻷﻣﺮﻳﻜﻴــﺔ ﺑﻬــﺪف‬ ‫اﻟﻌﻤــﻞ ﺑﺸــﻜﻞ ﺑﺤﺜــﻲ و ﻣﺠﺘﻤﻌــﻲ‬ ‫و اﳌﺴــﺆوﻟﻴﺔ اﳌﺠﺘﻤﻌﻴــﺔ ﻋــﻦ ﻃﺮﻳــﻖ‬ ‫ﺗﻐﻄﻴــﺔ ﻗﺼــﺺ اﻟﻨﺠــﺎح و دﻋــﻢ‬ ‫اﳌﺸــﺎرﻳﻊ ﺑﺤﻴــﺚ ﺗﺴــﻌﻰ اﳌﻮﺳــﻮﻋﺔ‬ ‫اﻟﻌﺮﺑﻴــﺔ ﻟﻠﻌﻄــﺎء اﻻﺟﺘامﻋــﻲ إﱃ ﺗﺴــﻬﻴﻞ‬ ‫ﺳــﺒﻞ اﻟﻮﺻــﻮل إﱃ اﳌﻌﻠﻮﻣــﺎت‪ ،‬وﺗﻌﺰﻳــﺰ‬ ‫اﻟﺴــﻠﻮك اﳌﻬﻨــﻲ ﻟﻠﻤﺆﺳﺴــﺎت اﻟﻌﺮﺑﻴــﺔ‪،‬‬ ‫وﺗﺸــﺠﻴﻊ ﺗﻌﻠــﻢ ﻛﻴﻔﻴــﺔ ﺗﻘﺪﻳــﻢ اﳌﻨــﺢ‬ ‫واﳌﺴــﺌﻮﻟﻴﺔ اﻻﺟﺘامﻋﻴــﺔ ﰲ اﳌﺠﺘﻤﻌــﺎت‬ ‫اﻟﻨﺎﻃﻘــﺔ ﺑﺎﻟﻌﺮﺑﻴــﺔ‪.‬‬

‫ﺗﺪرﻳــﺐ ﻣﺮﻛــﺰ ﻏريﻫــﺎرت وﻣﻨﻈﻤــﺔ ﻛــري ﻟﻸﺧﺼﺎﺋــني اﻹﺟﺘﺎﻣﻌــني‬

‫ﻫﺒﺔ ﻋﺒﺪاﻟﻮﻫﺎب‬

Spring 2018 - March 4 - Issue 2  
Spring 2018 - March 4 - Issue 2  
Advertisement