and we are live. Welcome everybody back to the Martin Siegel. Siegel talks here in New York City from the Graduate Center CUNY. My name is Frank Henschker and I'm the director of the Siegel Center. And for two weeks now, we have been live streaming with the great hall round conversations with theater artists from around the world about the time we live in the time of Corona, a time where the outside world is stranger than any fiction. We could have imagined a time in theater when people, tools have been taken away. Normally we already complain there's not enough space, not enough money, not enough opportunities, but this is all gone. We are sitting in our apartments on one way we are globally connected and the world got smaller that way. But now it's a micro world we all live in. But still, as someone said from our Taiwanese artists, perhaps it's the first time mankind is truly globally connected so that visible virus and it's heartbreaking times, especially here in New York City, we have more debt people than countries around the world. Everything is closed as in so many other cities. There are theaters, bars, restaurants, stores, kindergarten schools. It's in a way a horrible scenario. And of course we all think about theater and art and life and what does it mean? Should, what are we thinking about and what should we be thinking about? We hear a lot from politicians, from virologists, economists, and our TV faces, but I think it's a time where we need to hear from the audience, where we hear from leaders in our field to create meaning or to see what this new situation, this new world we are living in is all about. We, of course, too close, we cannot really see it, but it is clear like the end of the World War II about the fall of the wall, 9-11. This is a before and after corona and on the middle of the trenches. In a way, we had artists from around the world, Thomas Ostermeyer from Berlin.  This is chaotic. There's no meaning to it. Prepare for what's coming up and take the moment to reflect. And Meredith, who says her Buddhist practice helps her, which has informed her work over so many. And decades to deal with this, but it's a scary time. Company members are infected. She possibly could have been infected and it's just unthinkable, you know, that lose someone like her. And she is all fine, of course. And we have two people from around the world chiming in, Italy and from Egypt, from Lebanon, the complicated situations. Everybody works and lives in now and what unites us is that we are alone. We live in solitude. It was our loved ones, if we are lucky. Everybody says, go back to your families. Some don't have families. Some are alone. It's not easy.  You know, this is a terrible situation. He created actually Taylor Mac who is Kristen Martin Tricklap NYC, that organization that supports you, New York City artists. And so go on there. It's kind of a Netflix model. You pay $10 a month and then you can see work created by others and everything will go towards them. It's a terrific initiative next to many, many, many others. Now I think it's time for us to move to also another continent, a very significant force in theater. Always has been. It's the cradle of mankind, DNA shows. We all are Africans, but our skins are lighter or darker. This is who we all are. We are all part of a family. That is what DNA tells us, not racism is not only wrong because of all the political reasons. It's also completely wrong if you look at who we are as human beings. And in Africa, we have a great theater. Heather is with us, a professor of theater in Los Angeles who will translate, who has worked a lot and one of the great workers of theater in Africa at the moment, Aristide Tanagda is with us. He is a running a great theater festival in the Burkina Faso. He's a playwright and a director. He also has been at the Seedle Center for our pen world voices talk. Heather is one of the pioneers to also discover all the work that's done and it's even wrong to say to discover and speed all the way all the time. And we just haven't paid attention to it. It's a French speaking country and I think French government also pays attention the French cultural services here in New York to promote the work but it's extraordinary work that's going on. And now I think after hearing from Asia, after hearing from Europe, after hearing from our American friends and artists is it time to hear from Aristide. Aristide, welcome. Hello. Hello. And what time is it now in Burkina Faso and where are you? It's 16, I'm at Wagardukbuk. Heather, can you translate? Yes, I'm sorry, he understood you. He said it's four o'clock in the afternoon in Wagardukbuk, Burkina Faso. Okay, speak a little bit louder. Your sound is a bit quiet. So it's a six o'clock in Burkina Faso. So are you and your family at home, where are you? No, I'm not a family. I'm one of my friends. So a friend of the neighborhood with whom I spend time often to distract myself and then rest. So I'm in the house of his mother. I'm in the house of his mother. He said he's visiting his friend whom he often visits and he's actually in his friend's mother's house. Good. So what is the situation in Burkina Faso? Are people going out? Are there any government regulations? So what are the responsibilities now when the government is able to respond? Are they able to go out of the house? How many people are going to go out? Am I correct? What does the government say about the situation? Yes, I understand the government question. At Burkina Faso, while still working with some government, COVID-19, especially for the barriers to wash hands, wear masks, develop social distancing. That's what's not easy in cultures like ours, because we're really used to being together and being in touch. But I think that people, for example, are aware that the situation has changed. Let her translate a moment. And speak a bit louder, Heather, if possible. So he said that, like other countries, they are meant to wear masks when they go outside and basically stay in their houses. He didn't mention it, but I read elsewhere that the markets are closed. But he said that it's really strange in African cultures because so much of their society, so much of their life, is about being together. So to maintain social distance, as the government requested, there, as elsewhere, is antithetical to how the society usually functions. So for how many days? There are also other measures, such as the closure of schools, of markets, the ban on the closure of bars, of nightclubs, cultural places, theaters, cinemas. And, Aristide, we said, how long will it last? For the moment, until April 14. OK. So Frank, he said they closed the schools, they closed the markets, et cetera. And right now, it's only until the 14th of April. And when did it start? And Aristide, when did it start? Well, it started in us. The first case was on April 9. I think it started on April 12 or April 13, if you remember correctly. And March 12, March 13. So we just said, just for one month? No, first it was two weeks and then they OK. So it began about a month ago. And at first, it was for two weeks, mid-March. First, it was just for two weeks. And then they pushed it to a month. But the month is almost up. Thank you. Thank you, Aristide, for being with us. I know the internet in Pokina Faso or the laptop did not work, so Aristide is with us with his cell phone. And we can hear you and see you very, very well. Aristide, someone says we live now in the times, actually, of Artaud. It's Artaudian times. And we have to stay on the right side of madness in that moment where we live now. It's maddening what is happening. You, as an artist, how do you experience this moment? So Aristide, he said thank you for joining us. And then he said that we are a little bit in the time of Artaud. Anton Artaud. So he had asked... In the time of? Anton Artaud, the French artist from the beginning of the 20th century. Anton Artaud, yes, Anton Artaud. So he said, how do you support, as an artist, this time of madness? So, as long as you are human first, it's not obvious. Because, as I said, there is something extraordinary in the sense that we have never lived a total stop in a world like that. A fear of these ekkathoms all over the world. That, it gives you... And then a non-mastering of the situation of the virus. Let Hedda translate a little bit. So he says that just as a human, we've never been in a situation like this. We've never experienced a situation with a total shutdown, but worldwide. So the situation is delicate because everything is at the end. Especially for the... I live in a country where, for the majority of people, life is at the end of the day. So with measures that put an end to their work, their activities, it's not easy to live. And so, as an artist, it's also a difficult time because everything is at the end. We can no longer work, because an artist, at least an author, an emitter, a director of festivals like me and a festival that is implemented in a district, I'm used to working with people on a daily basis. It's challenging because everything is shut down and he's used to necessarily working with other people. So he was talking a little bit about the festival that he directs. The festival, which happens every other year in Ouagadougou, and would normally happen in this fall. And I think he's still waiting, you can ask him. But they have year-long activities. And so now everything's kind of halted. Including rehearsals, including development of the development of stages. Alessi, so I said that the director must normally have a place for this autumn. Yes, it's a process. It's normally a process. Normally, we finished the first step in February. We called it the quarantine. And we had to start a second step, which is the charnier step, between the launch and then the residencies and the festival platform. So what is the short side? We had to start the thirteenth, but we are forced to postpone it, to report it. This second step, the short side, in August, and then continue with the residencies, which will be very evident for the artists. So normally there is a second, they already finished the first development stage. It ended in February. Normally there would be a second development stage right now, which would precede the residencies of the artists. And so a lot of the development that happens is developing new work for writers and also young artists who are involved. So now that's been pushed back to August, but it's going to be complicated because then it will essentially happen at the same time as the residencies. So he said, to return to your question, Franck, as an artist, it's a moment of doubt and a moment of fear. But there's also the idea of it being a moment of in sowing hope. So to instill hope in people's hearts, because people are afraid, and it's part of the role of the artist is to give people hope. So it's a moment of liberating imaginations to make life possible. And he talked about to bring people to the theater, to the literature, to the poetry in order to accomplish it. It's moments like this when we're reminded of things that we've forgotten and taken for granted and moments like this that make us come back to the essential health piece. Because these are things that we take for granted. And it's a moment like this when we're really forced to think.  How do you feel? What's on your mind as a person? So Aristide, at the moment, you're being an artist and a human being sitting there. What do you think of yourself? I think of a lot of things. I think of, I tell myself, is humanity really going to take a lesson? Are we going to definitely go back to this life that was based on the cupidity, the material, the capitalism, this life that was far from the essential? He asks if we as humans are actually going to take a lesson away from this. If we're going to reconsider the materialism of our lives, we consider these are ways of living that really take us away, distance us from what is the essential, what is necessary. In this moment, I'm constantly asking myself, what is the role of an artist in moments as difficult as this one for humanity? What theater should I write now? So he's asking himself, what is the role of the artist in moments like this? What type of theater should he be writing now? Must he write now and must he write after when this is over? So in this moment, as an artist, I live moments in peace, because the artist, from my point of view, I must never be in peace. But it's an exceptional moment where all the seconds of my life are in peace because I ask myself a lot of questions about measures taken by the government, for example. Are these measures just for everyone? Are these measures adapted? Otherwise, what measures should be taken in a country like Guquina Faso? For example, Guadalupe has been put in quarantine, and other cities in Guquina have been put in quarantine, and markets are closed. So every day, I think about how to finally take into account the consciousness of everyone, of the need to live a just world. Let her translate. Yeah, let her translate, so we don't lose your thoughts. I'm trying. So he said first that artists should never really be tranquil, relaxed, and so there's actually something good about moments because it forces artists to respond to them. But he is also questioning steps taken, measures taken by the government. He said Guadalupe and some other places are under quarantine, and I'm guessing I don't think everywhere is though. I know not everywhere in West Africa is. And so he's asking about whether these are the right decisions and whether everything is just being justly executed. And also, you know, in this moment, I know that Senegal, the most part of some countries in West Africa, have decided to unlock hundreds or thousands of billions to respond to this disease. And somewhere it's revolving, it's revolving because until now, the COVID, in this different country, you're less than the Panodism, less than the Ujjol, less than, that's it. And that's why all of a sudden, we unlock billions to save lives. It's very complicated for me. So he said that Senegal and other West African countries have released a lot of money, millions of dollars towards fighting COVID-19 coronavirus.  And I would say also many, many people die of starvation or for famine. So he's discouraged by this. Yes, that's what I'm saying. What didn't work? Are there any mood effects? Is it a follow-up? Because it's normal in countries like France, like the United States, like Italy, like Spain. It's clear that the streets, the hospitals are full of corpses. So measures that are adequate and urgent must be taken. But here in Burkina Faso, for the moment, we are, I believe, not even close to COVID-19 on 300 and a few. But I know that the red light... Let's translate one second. Hold it. So he said that he understands that in Italy, for example, in the Western Europe and the United States, that so many people have been affected that he understands the necessity of taking these measures. But in West Africa, that's not really the case. It's not the same thing as opposed to other things like the measles, like malaria, but normally and are still affecting many, many people. Okay. Okay. So he said that, for instance, measles, for which there is a vaccine and a cure are treatments, it has killed 300,000 children. But nobody's done anything about this. And so he kind of feels like the world is, and then there's the opposite of the way it should be or everything's kind of topsy-turvy. But he said that this really makes you think about these realities and where we are with things today. And remembering the most important things of living and being alive and health. Go ahead. Go ahead. So as an artist, this situation is giving him the time to also think about the important things, the things that really matter. Important for you or for the human being in general? For me, this is my artistic practice. Right. So he's reflecting on his own artistic practice. Arresti, tell us a little bit about your day. When you get up in the morning, what do you do? Do you write? Do you listen to music? Do you read books? Are you busy with your family? Do you do that? I think it's all right. Who is it like? What are you in a new country? I don't even know you. Thomas Ostrom has a bus ever. He was on the bus. You can't do something. Our Italian friends. They, Lutia, the playwright said she cannot do anything. She moves objects in her home all day and has one or two hours where she can work. So how does your day look like? So, what do you do when you wake up, do you walk, do you listen to music, do you read things, do you arrange things, or do you come? So, when I wake up, I read books, I read, I write, I answer emails, and then I organize, because I continue to repeat, at the same time, because I organize moments of repetition with the site, the Carrefour International Center of Ouagadou, so we repeat at this moment a piece and how we are not... Wait a minute, one second. So, he said when he gets up he eats mangoes, because he really likes mangoes, and then he does some reading, he watches the news, and then he does a little bit of reading, writing, correspondence that he needs to, and then he was just talking about how he's arranging a schedule for, I think for rehearsals, for a new show at the Carrefour International Theater in Ouagadou. It's a relatively important theater complex in Ouagadou. Agassi, you said that it's a repetition that you organize. Yes, I repeat a piece with a few actors, so we organized ourselves to watch, to continue to watch the measures that are being taken, so the actors, as I said, we wear masks, we're all forced to wash our hands when we arrive, and then we respect the distance, we read the texts, we say the texts. Finally, we have to organize ourselves to keep in mind that life doesn't have to stop completely. It's a piece that is written, it's called Mirage and Perdition. Mirage and Perdition, okay. I don't know this play, it's Mirage and Disappearance, I think. It's about young people who get involved in terrorism, but anyway, they're meeting to actually rehearse anyways, but they maintain social distance, they wear masks, but they are still actually rehearsing this play. Where do you rehearse it? In Osito. Osito, Carrefour International Theater in Ouagadou. Franck, it has this big open area with a few buildings around, and I think most people wear it outside. You don't have a door, do you? It's outside, yeah. So that's where the outdoor courtyard is. Yeah, it's an open theater. And after that, I'm going to work in the recreator, because it's one of the recreators. And he also goes to his office for the recreator to organize. And there's not a lot of people there, right? There's no one, it's in the office, it's in the office. Nobody else is there because they've all gone home. I know a couple of the administrative members live in France, so they've returned to France, and other people have gone to their families. We had a Toshiki Okada on the last Friday who said he's rehearsing, but over the screen had an interesting idea. He said, you know, it's kind of democraticizing the idea that the actor is now as president of the director. But it's interesting that Aristide can work outside in a big open space where there is a social distancing as possible. And it's also a tradition they have done. And the rehearsals now, are they different than they would have been a month or two or three ago? Or is it just going on as normal? Oh yes, the rehearsals, does it look like that? Is it what we normally do, or has it changed since? No, it's changed. What has changed? It's the relationship between artists. Simply because we can no longer, we have to observe this social distancing. We have to be careful when we talk to others. We can't, I'll say, whatever we do, this kind of disease has made us suspicious. So what's changed is the reports between people because they have to maintain the social distancing. They can't respond normally as they would with one another. And what also has changed a little bit in the mentality of everybody during this situation is that everybody is a little bit suspicious of everybody else because you don't know where you're going to get an infection. Yes, in the eyes of others, there is a potential source of contagion. So the rehearsals are losing their intimacy, their sacredness. So it's lost, it's intimacy, and it's the sacredness of being really together. Aristide, you talked about malaria, about thousands and hundreds of thousands of people who die from it, and the measles and ongoing health crisis in Africa. Does it feel radically different for you now, the COVID-19 virus, or do you think this is just one more thing that we already have to deal with? So, since you made a comparison with hallowedism and the virus, do you think COVID-19, coronavirus, is it just another thing or is it still a disease, a problem that we have to deal with and so on? Well, I don't know because even scientists don't know exactly about this disease. I would say it would be too pretentious and imprudent of my part to want to give a point of view to this disease that is completely new. To answer that really, because even the scientists don't know exactly what this disease entails and the realities of it all are still being discovered. But is it for him as a feeling, we always lived in this time, for Europeans and Americans it's a complete chalk, something new, do you feel this is something we live with every day? Or is it also an interruption, a disruption? Well, in the United States and in Europe, it's really a shock for us because we are not used to subsisting with these things like COVID-19. While in Africa, there are other problems, so it's a new problem, but it still doesn't erase the other problems that are still there, like hallowedism, etc. Go ahead. So he asked how you see this as an African in Waga, because it's not the same, our point of view coming from the United States, for example. Yes, but in fact, it's clear that, as Achille Mbembe said, that is to say that the white man and the West and the Americans in general, make common sense with death. And that it wasn't the same situation with Africa. So Franky referenced Achille Mbembe, who pointed out that for white people, meaning Westerners in general, that they are coming face to face with death for the first time. And so what I saw on a daily basis here is that, in fact, when the government applied the measures here, the fear of people was just dying of hunger rather than of this disease. So if they can't go out to earn their daily bread, even if they don't get COVID-19, they're going to die. Once again, just because I don't see how, as I just said, no one is managing the disease, but it's the lack of pedagogy behind it. It's the lack of trust in the lives of the people, so that the people can organize themselves to be able to continue to exist, but not to the transmission chain. The problem is that there's a lack of pedagogy, a lot of understanding for people, so that they can figure out for themselves how to continue to live with the proper precautions necessary. Because it's a people, unlike this congressman, who has always been responsible, who has always organized themselves to ask for account to the government, to the state, who spontaneously takes his life in charge. We know how to live, right? Yes, for example, I'll give you an example. All these people we call the informal sector. Yes. These are people who have organized themselves without the help of the state, without anything, but who have their own imagination, their own strength, their own sense of responsibility to exist. And so they are created between banks, where they are made ready, without interest. So without an organized government structure for centuries, people have been able to come together to figure out, work out banks, work out commerce on their own. And that's the term responsibility. Everybody has their own sense of responsibility for living. And so, without your term, do what he was saying, without a sense of understanding fully what this is and how to deal with it. It's challenging for people who are used to living on their own. And not trusting the government and not getting normally the right information, so I am sure. Aristide, as a theater artist in Africa, do you feel connected to the world or do you feel your left alone? Right now or in general? Right now and in general. As an African artist, Aristide, do you feel that you are alone, that you are independent of the rest of the world or good, that you are connected? And so you can think now, at this moment, are we far from each other? Or do we still have an international artistic community? And then, in general, as an African artist, is it the case? So I think it's delicate, it's delicate because my answer could be both yes and no. Heather, maybe translate? Pardon? Heather, you want to translate? Oh yeah, I know, I just said that his answer is yes and no at the same time. Yes, because we still feel at the march of the world. As an artist, it has always been difficult for me to circulate in the world because I am always suspected. There is a look as a defender who has imposed on me the tension of the visors has always been problematic. So it has been challenging for him to circulate, to travel and to move as an artist, because there's always sort of a, directed his way. There are always challenges with getting visas with traveling, etc. And so I feel sometimes in a ghetto, because there are specific spaces that are reserved to my eyes, to put me on stage. So it's not obvious. He feels like he's in a ghetto in a way because there are always specific places reserved for his work, and the places that exist that are the only places for it.  Show your work normally in Africa and outside? He asked where do you do your work? So you did part of the Avignon Festival? Yes, I did. In Africa it's in the theater, in the theater that exists in the continent or Congo. So he's done a lot of work internationally in the Congo, in Omalino. Where in Omalino? In Omalino. In general, part two in Africa, and took an African francophone, an African type. A little bit everywhere in Sub-Saharan, Francophone, Africa. How do you get support? Do you get any support from your government? Will you get support now in the corona crisis? He asked for support from the government. Have you received support from the creators, for example? Will it change? No, not yet. So you have not gotten any support? No, I haven't received any support from the creators yet, because I think it's new. But I think the most important thing is not that the creators receive support for the creators. So he said, for instance, his festival hasn't received any support from the government as of yet. But he doesn't think that that's necessarily the most important thing. I think that for the moment, the help that would be legitimate and just for the creators, is to give the means to this structure, to be able to survive COVID-19. So he said that it would be useful to have money for the festival, but also to support the artists to continue to make them work during this crisis. So he doesn't necessarily think it's about money or anything, but it's about the idea of support. And he wrote a letter that I translated about a letter in response to what the government said, because the government mentioned all other aspects, all other sectors of life and society, and completely neglected to talk about cultural workers, including others. I'm always trying to get money to make projects. I think money has to come after the project's dream, to realize the project's dream. Money coming from the government? All the money. It has to come after the project's dream. Okay. He said that he thinks that the money needs to be there earlier on when the dream of the project is realized, or is first imagined, instead of it being only for the finished project. Aristide, also slowly, we have a little bit of time still, we're getting towards the end of the session. I am not sure if everybody knows as much. I don't know enough about your theater festival at Burkina Faso. So tell us a little bit, how many years have you been doing the festival? How many shows do you have? I know you also host writers. Do you have buildings, and who comes to see the work? So tell us a little bit about your theater work, what you are doing under those difficult, already difficult circumstances. So tell us a little bit about your work as a theater artist in Burkina Faso. You also talk about the festival and about his own work, right? Yeah, but all of it, yeah. So tell a little bit so people know, but also about the festival and his own work. So what he does. So we should say that Aristide is not only a playwright, but he does direct the festival right now. He's also an actor and a director. So what do you want to say about the festival and your own work? So it's a unique festival in the world. How many years? When did it start? Since 2002. Since 2002. And it's every other year. That's it, every two years. That's it. And so why is he single? He is single in this sense that he is inscribed in the heart of the life of the citizens, of the public, of the people. It's unique because it is inscribed in the heart of the people. And that's why you want to say that since it develops and it takes place completely in the heart of the people. Yes, I'm coming. I want you to translate it. So in this sense that we are implanted in one district and that we receive artists from different countries, from Africa and the world, in the family classes of this district. In the city of Ouagadougou, away from the center of town. And all of the artists who come from all over Africa are lodged with families who live in this neighborhood. So it's both a district that opens to the world and that also opens to beauty, to culture, to dance, to music, to theater, to culture. In a way it's as if this neighborhood opens itself up to the world and also opens itself up to music, dance, theater. And so it's a beautiful lesson of hospitality that people who are called poor give to the rest of humanity. Because despite the fact that they are, because it's not true that they are poor, but they have a way of seeing, but despite the fact that these people are not extremely rich, they open their doors, their intimacy to strangers, to people from all over the world, without asking for a return, you will have to pay. So it's sort of an example of hospitality because people who are relatively poor, who are not rich in wealth, open their doors to the world in this way without asking for anything in return. Sorry, what was that from? So, and then what happens when the year of the festival, the season of festival, it's usually in late October, early November, is that hundreds of artists and thousands of art theater enthusiasts come and sort of descend on this one neighborhood in order to experience the theater. So also people who come to see the show are hosted by families? Not really, but the artists are. So how many companies, how many shows, how long is the festival, how many days, how many shows do we do you see? And just to clarify to that, Frank, so the plays are performed in the courtyards of these families. So even though the people coming don't stay in with people in their houses, they are basically welcomed into their, in the courtyards. And how many people watch and have tickets or it's just open door, how does that work? How many people, how many shows, how many spectators? So, no, I wanted to add something important before answering this question, that in fact, this neighborhood and these people are not happy to be welcomed. They help the festival organization. So people are recruited within this population, the games, the women, to help the festival organization. So you said that first you wanted to say that people who live in this area, not only do they just host the artists, but they also take part in helping to organize everything. And this includes women, the young and the old all help in organizing and making it, making all this possible. So generally there are 15 theater spaces and 15 shows. So in 15 family courtyards transformed into theaters. So there's also an area for children, for youth, theater for youth. There are also street performances, dancers, musicians, etc. So after all the performances have finished every day at 11 o'clock, there's also a music concert. And so what we added from two years ago is that we also try to imply the neighborhood artistically. With the neighborhood, the women, the old, the young, we do the opening show. And he's also starting, he started last time in 2018, that the people from the neighborhood also help participate in the opening ceremony, which is kind of like a big launching party. So for 2020 edition, he's created a piece, a performance that only includes the youth of the children of the neighborhood. So are there any thoughts about doing something live streamed on streams or computer other countries, of course, that's on their thought, is that even think about do you think about that as a screen presence. I think actually that, I should talk about with Aristide, I talked about with her around actually last time, and we didn't know that we had good enough streaming. But anyway, I'll ask him. Aristide, Franck said that it's interesting to do the live stream of festivals so that people who don't feel welcome can come to Ouaga and see the blue. If everything is closed, will you think of digital presence or is this unthinkable? Yes, we will try. The best thing is that we are looking at platform managers to actually allow those who have not been able to come, those who have not been able to do the placement, to live intensely, to have strong moments of the festival platform. Yes, and then if COVID-19, it's not over yet, it's autumn. It's going to be over before. So he said yes, they're from yesterday are considering streaming so that people can see it around the world. And I said, well, have you thought about filming if in the case where COVID-19 isn't over yet and he said, oh, it will be. So maybe for all of our listeners, instead of only just going to the great festivals, we do know the Avenon, the Constant Theater, the Berlin Festival, Vienna, and Salzburg Festival. Maybe it's also something to think about for the Lavazov Theater one day, please do go to Burkina Faso. It's a great place. And I will go, especially after this. Aristide, is it possible to show us your backyard if you have your camera? Meryl Desmarin took us around yesterday. Can we see the courtyard of your house where you live? A little bit. The other side of you. Eria, for example, Eria, the courtyard of the house. Here? Yes. There, where is my friend? Yes. I'm your friend, yes, yes. I'm your friend, I'm your friend's friend. Where is my friend's mother? She's very warm there, it's very hot right now. Can you show the street again? So people are outside, a little bit lower, yeah? People are outside. Aristide, put your video a little lower. But I think this is, this looks like the family. It's the family, the courtyards. And this is the courtyards where the theater's plays happen. Is there a special role in this role? No, I'm not the director, I'm in my neighborhood. So Aristide, because we are getting close as an end of a question. There's an artist trying to work in Burkina Faso and creating this incredible festival that should get more attention. What is your advice? What do you say to artists in the world who are now at home and thinking about doing work and whatnot? What is your advice for the artists or people at home? How to think about the time you live in? What is your advice, what to do? What is your advice to people who are now at home? What is your advice? What do you say to other artists who are now at home? Hello? Yes. I don't think you heard me. What is your advice to artists who are now at home? Yes, what I would suggest is the creative theme that we gave this year, without knowing that the world would know us and live this moment of uncertainty. I would like to ask all artists in the world to first stress the courage as we asked it two years ago, in 2018. Yes. Yes. And understand that humanity is one and that the world is one and that we have to work to create a human community and not... What are the challenges? The challenges are important for our artists because I think that when there are moments of uncertainty, moments of panic, of loss of memory, the artists are the ones who can work to bring back the care, the joy, the happiness and above all, the lucidity. First of all, I will do a part. So first, he said that he's reminded of a theme of the festival in 2018, which was about fixing your courage and being brave, being bold. And then about this year's theme, which is about asserting yourself and recognizing these artists and bringing the fossil, for example, that nobody knows about. So I said I was talking about the theme of the festival and then after that, I said that people should be aware that humanity is one and that we have to work on it. And so we need to be reminded in times like this that we are one, that humankind is one and we are together. And we need to work towards appreciating... He said that humankind and the center are all for the better. It's for humankind. It's not for banks. It's not for what? And also, humankind, for the better. And for a person. There is a question about how, how do we work together? And also to re-establish in our societies that humans and people are at the center of everything. What should be the priority is not banks and businesses, but people. Thank you. Thank you really, really. Aristeed, thank you so much for taking the time and giving us a view into your world. I think we need to hear more from the African. Thank you really so much. And this concludes our week two. And I hope you will be able to stay with us next week. We will post our program soon. It's going to be Keith Joseph Atkins with the blackface, with writers from his writing group up in Harlem and around America. We will have Big Dance Theater, Paul Lazar and E.B. Parson. They will be here from Kelly and Pavel from the National Theater of Oklahoma. Mara Nijosa from the Foundry, the great, great theater initiative. She created, she will be there was Aaron Lenzman and others are in Squire. We will hear from Tia Barsova in Poland who is doing very difficult work under a government that is hostile to the arts and that is thinking about how to create a new theater. They are going to build a new theater that also has a digital context and they are reinventing what they should be doing. And they are hit hard also in Poland now by the crisis. And we will hear from Shahid Nadeem from Pakistan and Abhishek Mubarak from India. So we will really get another update and to all our listeners really thank you for taking the time and for your interest in the work and thoughts. The troubles and sorrows of our global artists. I hope you all stay safe over the weekend. Easter weekend is a very unusual one. Of course, in our lifetime, our generations, we haven't seen that.  Wear the mask and I hope to hear and see you all next week. And Abhishek again, thank you for being with us, Heather, for translating. We are the great HowlRound team on Emerson College at VJ and the theater supporting us at May, San Yang and Jackie here at the Segal team, Happy Easter. And I hope we will see also in the coming weeks, see better news. And it is a devastating situation, especially in New York City and the others. But the whole world is working together, scientists and also artists and people are talking and we will see how the world will change. It has already changed. We don't know it yet, but I think this will be one of the things to find out also in our upcoming talks.


The Minister of Defence, retired Major-General Bashir Magashir, has commended the troops of Operation Lafayadoli, combatting insurgents in the north-eastern parts of the country, saying that President Mohamed Abu-Hari appreciates their performance. Magashir commended them while addressing troops at the headquarters of the theatre command in Meduguri. He noted the injuries and lots of lives in the cause of the assignment, while assuring them that their losses would not be in vain. He observed that Nigerian military had distinguished itself in various operations across the world, and that of the insurgency would not be different. The minister and his team also visited injured soldiers at Seven Division Hospital. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


Hey everybody welcome back to episode three of amazing spider Steve. This is your boy spider Steve.  Make sure everybody know who runs Man for me out. All right, let's hit this King of NYC right here.  They get paid Plus who wants to be a hero all the time? You don't get no have no fun. You don't get no money. You don't get no You don't get nothing.  Hey, what's going on down here? Oh Hey, what's what you doing? You realize who's side of town you in in the month You want to put with some people you got pay me to be able to do so?  Where are you gonna go?  You're gonna listen to me now.  Yeah, all right You're lucky.  All right my streets I'm out of here Spice tired of NYC.   Thanks for watching. Hope you guys enjoyed Well episode three of the amazing spider Steve like and subscribe below if you did


Welcome to Drupal con I Hope today your day was good. You're having nice day Yeah Had too much lunch Okay So the talk is all about dependency injection and trooper late I'm Ashwin Kumar So I'm from India. I work with region technology as a technical architect In terms of Drupal, I'm with Drupal from last five to six years Started my journey from Drupal six triple seven and not Drupal eight in terms of contribution I've started my journey in contribution by organizing certain small Drupal camps Drupal code sprints hackathons and helping new beginners to getting involved in the community now I'm more into the initiative back in India for Starting Drupal into Colleges schools which we have in their courses are also helping new beginners Who are coming out from the college? Getting jobs in Drupal Apart from that recent my contribution lies in Drupal console In translating Drupal console and some of the core commands translating Drupal console in Hindi specifically So we have translated Drupal console in Hindi About 97 point something percentage as of now, and I think that's the highest translatable language we have as of now and Yeah, and we did that before last Drupal con Mumbai. So that was kind of achievement for us Have you guys tried out Drupal console? Did you like it? Okay, and yeah, I also A Kind of a pilot train training. I'm taking a training of a helicopter. So, yeah That's that's what the picture so let's The agenda of the session first we're gonna discover What's the mystery about DI? So the story of the session goes like first we're gonna understand the conceptually what exactly dependence injection mean and Why we should learn dependence injection first place and then we're gonna see Some DI concepts in symphony and what is there in DI and to polite there'll be a couple of examples and architecture kind of a diagrams where we can easily understand the concept and How actually we can plug DI into to polite custom of contributed model development? So that's what the agenda will be all about of the session So there's this Joke which I heard why to give my two cents to hunt here So the joke is dependency injection is a concept of $25 where you have to put your two cents to learn So before going with the dependency injection, I would like to share one of my Real experience how I Come to know and get involved using DI in my contributed module sporting. So A year back I worked with one of my Contributed module porting and I did I use the Drupal upgrade module and it actually gave me what function is Deplicated and what things we have to change and there are certain brush command which actually change your Drupal 7 module Directed structure with the standard of Drupal 8. So I did that The module was done. I shifted a couple of business logic code into certain files as per the Drupal 8 module development standard and I thought let's get review from my mentor. So I Checked out my mentor and he said what you have done So I was like I contributed module and I ported successfully the model is running. You can install it But he said what we have done what you have done You have just shifted a couple of code what is already wrote in Drupal 7 and you have just followed the directive structure But you haven't used any of the power of Drupal 8 and we have seen that Drupal 8 is we are hearing many things about Drupal 8 like Drupal 8 have 200 features But the quick question which come into my mind. Can we learn 200 features quick? If a person coming from D7 to D8, what will the learning curve or if a person coming directly to Drupal 8 What will the learning curve how the 200 features can be used in module or site development or theming or Maybe a command line tool like Drupal console how you can use that? At that time he introduced me to the concept of dependency injection Which I'm still now super happy because it actually helped me and made my life easier in terms of Coding and in terms of creating modules or porting modules in Drupal 8. So well as it says the literal meaning is so before before just a step back, I'm assuming that all over here the Attendee are familiar with their OAPS concepts right, okay And how many of you have worked with Drupal or how many of you with symphony? Drupal oh Thank You symphony Okay, great So yeah, let's go ahead. So dependency injection what exactly it means It's basically a concept where you define your dependency in a class definition rather than instantiating them into class itself so as the site as the Statements is the little many injecting dependency into a class that what we understand about dependency injection as a word But what exactly that mean? So let's go to ground zero and let's first understand what it means by dependency so let's say you have a class that uses another object and performing some functions and Doing something with your business logic. So we can say that your class have dependency of certain object so for example if you have a model class that fetches something from the database, maybe a database query and or Performing some there may be a select query or an update query or SQL query anything so we can say that your model class have dependency of database object and That's what dependency is so now let's understand the Meaning of what it means injecting dependencies Injecting dependencies is like pushing dependency into your class from out of the box What it means that when you are declaring your dependencies into your class instead of using a new operator You can pass your dependency into a constructor as a parameter and that's it That's all means the dependency injection. You really do not need any of the concept of service container DIC or pimple of course they can make our life easier, but technically you don't need that So there are certain forms of dependency injection constructor setup property These are the mostly or widely used in different different frameworks Based on symphony. I guess a PHP So first let's take a look to constructor injection. What exactly it is. So constructor injection is mostly usable injection and frameworks in Drupal it as well. So So in constructor injection we pass our dependency into a parameter of a constructor of a class and it actually The dependency get present till the time your constructor Lifetime or basically your class lifetime. So it will always be the dependency will always be available throughout your class The disadvantage of this injection is so let's take an example you have a class which have a requirement of certain dependency and You have to use that without dependency your class will not work at that time constructor injection works very well So in this example as the newsletter manager It's a class and now I have to send a mail about my newsletter So my class cannot work with the dependency, right? So that's what the constructor injection is and you have to just pass it as a parameter to your constructor set injection Set injection is most likely a scenario where you have optional dependency Cases so you might need a dependency into your class or you may need, right? So you can actually set your dependency by using a set a method and pass it into the parameter Whatever dependency you have and you can actually declare all the set a matter is Set a method in many times in your class So for example, you have the first dependency mailer so you can declare set mailer and Here's my dependency. Likewise, you can specify many set a method into your class The disadvantage of this injection is you will not be able to Handle where your dependency actually lost control into your class So you have let's say a four or five dependency you have set in your class But let's say if the lines of the code are huge like thousand So you will not be able to figure it out. What dependency is available right now? Property injection property injection is kind of a similar to set a injection you can use the set a function and Same way you can call the dependency into your class and using the public Keyword you can actually specify the fields in your class The Problem with this Injection is you will not again the same problem which we have with the set a you will not able to control the dependencies Lifetime into your class So quick question which actually comes into my mind when I'm just going back into the scenario which I Introduce you when my mentor told me that you should use di into your code So I was like why did I because my code works without di as well? Why I have to forcefully use see I so a quick answer was that you really do not have to use dependency injection every and Every time whenever you are contributed or in a custom module. It basically depends if you have lots of dependency in your Contrib or custom module or specifically in your class at that time you should use di But you should not always use di principle whenever you are developing a triple eight module But why do I what exactly it gives me power? So let's take a example, so let's say we have a robot which builds a house and it started with building some piles of House and when it comes to a doorway We had two options either construct a door from starting taking a raw materials and building the door and then put it in a doorway or We can just get it from some supplier at the ready mentor and we'll just fix it in a doorway So what you guys think what will the efficient way? or quick way Supplying right That's what I think actually and that's what the concept is all about So you actually take a supplying a door and put it in your door. That's what in dependency injection is So what it comes to it comes to a dependency in version principle We're class so specifically in PHP. It works with interface So we're class have lots of dependency So you actually inject them with an interface and your class actually calls the interface to get all the Dependencies so that you can use a lot of functions which is available into your dependency class So let's take another example by understanding into a code point of view What exactly we will get if we use dependency injection and if we do not use it So first, let's take an example without dependency injection so let's say we have a two class Google Maps and OpenStreetMap and in our class we actually want to use the these classes functions or Let's say we create we're creating a store service and we have to get the address by using a Google map class or service So traditionally this is how we're gonna write we're gonna use a new operator Call the Google class and then we're gonna use The variable and get coordinates from address and we're gonna pass something our store address to it And maybe we get a geo coordinate or anything we would like to get But with dependency injection, what do you guys think what's changed? So here we are actually passing our Dependency into a constructor Parameter you see geo location service and we are just passing that into a constructor and anywhere in class I will just call that interface or dependency function anywhere in my class I can use that But what is geo location service? so we create an interface and we have function inside that and both the class Google Maps and OpenStreetMap implements the geo location service interface So our code is cleaner our code is Decompiled so our class is decoupled from the dependency so in this case if I want to change my dependency or function I want to rewrite this code But over here. I do not have to do anything. I'll just change the dependency what I'm passing So what we also get from this that our code is much more cleaner and modular Reusable yes the less your function knows the more usable it is so that's what the Outcome which we get from TI and it's flexible. Yes, your class is decoupled from your Dependency and you can anytime change the dependency where you have mapped with that It's easy to test and the abstraction is decoupled So while working with DI you often face these jargons dependency injector DIC inversion of control service container basically these are all same it just the Certain names which we use in different different frameworks More specifically in Drupal 8 you will face the service container That what it is and how we can use service container in DI so we're gonna talk about that in a moment. Oh Oh So service container basically deals by deals with the mapping of your dependency At one place and you can call that service container into your class So next time if I want to change any dependency of my class or let's say if I have a three dependency And next time I don't want to use a two dependency or I want to add any other dependency So I'll just add it in my service container Over here. I don't want you to think about just forget about the services module or web services It's not that so it's just a mapping of your dependency Which your module based on we're gonna see where and how it actually Happen and jupal it Before that let's first take a look to symphony's dependency injection component So there are a lot of concepts and symphony DI They are event dispatcher. They are compilers Which actually works behind that when you are using DI? But I'm not gonna take you in that deep instead I'm gonna show you the overall concept and how we can actually use it when we will contribute to Drupal so in symphony DI by calling any service they use the string Stuff and you can actually just call your dependency With a code and let's say some service second the same thing which I Mentioned that it actually allowed you to inject your dependency into class definition Instead of declaring them into the class itself the default scope is container and it can be configured in PHP or XML or YML and It can be compiled down to PHP as well So you can actually write all the service condensed stuff in PHP as well And yes, you can actually define your service container of the mapping into YML or XML or PHP So in Drupal 8 most of the stuff the YML has been introduced So all the service container the mapping has been lies with the YML So now let's take a look to dependency injection and Drupal 8 So while working in Drupal 8 services you probably be using These services the database and module handler and request so when I'm saying services you can also compare the hooks which we used to have in Drupal 8 and the core services which is introduced in Sorry the hooks which we used to have in Drupal 7 and the services which we have in Drupal 8 So hooks are deprecated in Drupal 8, right? And now we use services to actually alter them or Reuse them what we have in core. So two ways we can actually use core services One is the procedure code way you can actually define Drupal and service and just pass out some service which we need or write object-oriented code which we have just seen by using the DI principle or Injecting them by a service container But in Drupal 8 we really do not come to know where and exactly it happens in core. So there is a Drupal kernel file which actually deals with the auto loading and auto rewriting of Services, so when you define your services in a service container, so it makes sure that these things actually available to the class where you have called your where you have injecting your dependency and All the core services are defined in code.services.ym You can see the yml structure which they have been used and same structure we have to use in our module If you are if you have any compiler passes which needs to be Used in DI then those are actually Dilt by core bundle.php which lies in core slash lib slash Drupal code And there's the dependency injection component which is symphony component in Drupal 8. So all the things related to dependency injection lies in Drupal code dependency injection slash compiler. So yeah, so this Situation we get it. How do I use it in my module? So I'm Creating my custom module or I'm porting my Contributed module. Actually many of the contrary module You will not see the concept of DI has been used actually in search module. We do have I've seen that now people are actually Plugging all these features of Drupal 8 into their contributed modules But it was not there when the contrary module porting initially start started So let's say we are building our own module my module I would say and we have to define our module.services.yml and We will define all these service into this file and we're going to see how we can define that The next thing if where my class lies will be it will be in module slash lib slash Drupal slash my module slash my module bundle.php And that's where all the classes will lies and it will all the injection will happen in my class from there So now let's take a look to the start.services.yml what we have In this file what magic do we have? Because whatever we defined here any dependency it will get auto-loaded and it will available to our module So let me just Anyway, can you help me out? No, okay The presentation is stuck. Okay.  We're not gonna go ahead Sorry Yeah, we were here So there's this file are you able to see? No, at the back. No How do I increase these strings?  Thanks. Thanks Now great So there's this file which you can find out in core code.services.yml So you will find a lot of things in this file Which you will not able to understand if you're not familiar with it So I'm gonna directly take you to service definition example Yeah So this is how we actually define our services and services.yml So the path is a module and we define what services we need What class that services Should get so in that case over here Ally allies whitelist and tag is more like if my dependent class is also have certain dependency and Argument you can pass as many as dependency you want In your definition. So in this case, we have path alias whitelist, cache, default, log, state and all those things So this is how you're gonna define of when you create your module.services.yml And you have a lot of examples just same stuff. You have to just maybe a copy paste from here or Change whatever service you want. Should I click play? Now, let's take an example. If you are creating a form in Drupalit, how are we gonna actually use dependency injection and form a sample code first? Are you able to see it back? Thank you So we have an example form. So this is a piece of code which I actually took it from Drupal.org website Which actually states that how you can use dependency injection in when you're building your custom form So first we define all the namespaces all the interfaces which we're gonna use Into our class. So in that case form base, form state interface are all required interfaces There's an account interface and the dependency injector container interface we have to define and Now we're gonna extend the form base class And in constructor we have passed the account interface But where does actually dependency injection is happening? It's here So we are calling our current user a service Into our form and we're gonna use as we would like We're gonna maybe I take our current user profile or UID or name anything we can get from here And that's it. That's how you're gonna use it You have to just use the function and you have to just pass your services as a string The challenge with the Drupal 8 is there are a lot of things in it and how do I? Find which service I would need in my custom or contributed module How do I actually find where it actually lies and what all services has been included in Drupal 8 So there's this website api.drupal.org I actually forgot who built that But it was a great initiative That was taken when Drupal 8 by initially introduced you can actually find anything over here What APIs and what functions of file or where it actually lies a class with tag You can find out everything. It's just like a form or any API we used to have in Drupal 7 So there's certain form API you will have a certain URL and you see all the functions which is there in form API Just like that. You can actually search by name or content. Let me just try to Open this Are you all using by fair trying to look at use only one device, please Okay, let's go here search for services APIs Which we're going to find out the process Drupal services Transferring data Drupal ConWiFi So This is the place where you can actually search for services, which you can Use in your module or which is actually there in Drupal code Maybe Let's say search for more to handle It just load because of the Wi-Fi Yeah, so yeah, so This is a code which I actually believe and I always use this thing whenever I learn and Any new technology or any new part of a thing you have to start somewhere, right? even if you are a symphony guy and Now thinking of Drupal 8 you have to start somewhere, right? So start small and yeah, then work your way up. I don't know who is the person who quoted this But I have read somewhere long back Questions. Yes You can actually use DI in plugins as well because plugins are also you you write your class in plugins, right? So if you are writing a class, you can actually use interface in that. Are you sure about this? Okay I'm not sure whether the plugin class Okay, let me just think about it I think it can also implement the factory class which is not a DI way But factory class is also service which is provided by Drupal 8 and Yeah That it is yeah, yeah with plug-in. Yes, that that's the way to do it. What do you mean by reflections now? Okay, but does that answer your question? Maybe you can also try to use factory classes in plug-in. Yeah, any other question? Yeah Okay So Probably will not find exact What I have mentioned there But the objective of showing that you can pass the The geolocation service as an interface and you can plug your independence into this one The form example, okay. Yeah, it's actually calling from here Yeah, that's where you define and you just plug it As a parameter. Yes. Yes. Yes Yeah, so get it just a function which by using you can actually call the service of which you have defined in your interface Any other question? Okay Thanks for listening and yes, please do evaluate the session In New Orleans website the event start or maybe just a link where you can actually download the presentation of DI and I do have certain stickers and badge with me. So if you need you can collect it from me Thank you. Thanks for coming


تفوته آدك الأيام فتا الحمد لله رب العالمين وصلاة والسلام على أشرف الأنبياء والمرسلين سيدنا ونبينا محمد وعلى آله وصحبه والتابعين لهم بإحسان إلى يوم الدين أما بعد نعم فاصل الأدلة التي يستمد من هالفقه أربعة الشيغ رحمه الله عبد الرحمان ابن ناصر السعودي رحمه الله هو now gone into the third fossil this is the third fossil we done two fossil before we are now moving on to the third fossil I want you to brothers remember insha'Allah something that I mentioned before when I define أصول الفق what did I say أصول الفق was it deals with what it deals with three things I said remember and this is something you have to keep with you all the time in order to understand the book from the beginning to the end أصول الفق deals with three things first thing it deals with was what معريفة الأحكام الشرعية and we spoke about that we did that in the first so we did that in the second fossil the last chapter what was the second thing that it dealt with أدلة إجمالية it dealt with comprehensive evidence is right the sheikh is now talking about أدلة هيا the third thing that it dealt with was what حال المستفيد the مجتهد he is going to bring that later we are going to speak about the مجتهد and the مفتي later insha'Allah so you have to know how these things work or how the علماء have chapted أصول الفق so now we are going to go into الأدلة the evidences التي يستمد منها الفق in which فق is rooted from يستمدوا it is rooted from فق where do we take it from we take it from how many أربعة أدلة الأربعة four evidences there are four evidences in which أصول الفق is rooted from the sheikh is now going to tell you إن شاء الله تعالى الكتاب و السنة the first two Awat الكتاب و السنة the Kitab and the Sunnah Awat the Kitab and the Sunnah are the أدلة which أصول الفق is taken from and now why did he mention الكتاب و السنة first because they are the أصل the Kitab and the Sunnah are the أصل so if I asked you today and I said to you what is أصول أدلة الفق what are the fundamental evidences of فق you are going to say to me what أربعة the first two is what الكتاب when we say الكتاب we mean the book which book القرآن العظيم the second one that it is و السنة and the Sunnah of the Messenger صلى الله عليه وسلم I'm not going to elaborate it because the sheikh is going to speak about each of one of them he's going to make a whole chapter for it he's going to speak about the Kitab by itself a chapter and then he's going to talk about the Sunnah a chapter and the other two that are remaining we were ordered as Muslims that when we have discussions in matters of فق to take it back to these two the Kitab and the Sunnah الله سلسل صورة النساء ay 59 فإن تنازعتوا في شيء فردوه إلى الله if you dispute in one another a matter we dispute each other in a فق matter we take it back to the two the two evidences the two places where we extract our evidences from it's our proof it's a it's our proof we go back to فإن تنازعتوا في شيء فردوه إلى الله بيبقت الله ورسولي بيبقت the message إن كنتم تؤمنون بالله وليوم الآخر if you guys believe in Allah on the day of jenmet ذلك خير وحسن تأويلة that is best and it's the best explanation and interpretation so understand here an argument occurs between you and two people you are another person and where do you go back to and say this is where it was quoted this is where it was said the Kitab and the the Sunnah now the Kitab and the Sunnah how do we take it back to the Kitab and the Sunnah the Prophet is not alive يبن القيم رحم الله he mentions in his Kitab إعلام الموقعين he mentions Ibn Al-Qaim that we take it back to the Sunnah of the messenger صلى الله عليه وسلمة we take it back to his traditions we go back to the hadith anyway when he was alive they would come to him فردوه إلى الله والرسولي the Prophet was alive they would say يا رسول الله what is the ruling in this matter يا رسول الله what should we do in this matter and the Prophet would give them a ruling now that he is dead now that he is dead وردو إلى الرسولي صلى الله عليه وسلم يرادو what is meant by it is what بعد وفاته الردو إلى the Sunnah you take it back to the Sunnah عليه الصلاة والسلام نعم الكتاب وَهُمَ الْأَصْلُ اللَّذِي خُوطِبَ بِهِ الْمُكَلَّفُونَ وَنْ بَنَا دِينُهُمْ عَلَيْهِ وَهُمَا and they both are the pronoun here وَهُمَا they refer back to the كتاب and the Sunnah وَهُمَا أي كتاب and the Sunnah are both what the Kitab and the Sunnah both of them are الَّذِي خُوطِبَ we took this word خُوطِبَ before what does it mean? address remember when we were speaking about Fiqh خُوطِبَ in which they were addressed المُكَلَّفُونَ we said who is a مُكَلَّف مسلمون بالغون عاقل pay attention a مُكَلَّف is a person who has sanity and he reaches age of piety and he is a Muslim عبادات are made obligatory on who the عبادات are obligatory on who and the issue of if Islam falls under the cliff we spoke about it in waraghat so the person who is reached age of piety and sanity he is a مُكَلَّف he is a مُكَلَّف good pay attention but pay attention عبادات عباد that a worship is made obligatory on you when these two are met pay attention you reach age of piety and you have sanity what is needed what happens here at this point you have to come all of the forms of عباد it's obligatory on you because you met the two conditions that were needed but what about transaction not عبادة but a معاملة transaction buying and selling the person if he did not reach age of piety can he buy and sell yes he can buy and he can sell something that is piety he can't sell a house can't sell big things but he can go to the shop and buy sugar his transaction is what it's taken into consideration what about if a person is insane and he breaks a person's car and he's got money his father has left money for him he's an orphan but he's insane yes the money will be taken from his wealth and the person's car will be fixed with it and we won't say he's غير مكلف he's not bad in nope so you have to realize the difference here of the issue of تكليف نعم والإجماع والقياس الصحيح now the other two the hour so he said four right we mentioned the كتاب and the سنة now we're talking about what إجماع and قياس why did he why did he separate إجماع and قياس from the كتاب and the سنة the reason is because the كتاب and the سنة are the أصل the إجماع and the قياس are the مستند مستند they lie they lean on the كتاب and the سنة how do they lean on it إجماع what does it mean first إجماع means can sense إجماع means هو اتفاق المجتهدينة في أسر على حكم شرعي and we'll come to that in details later there's no need for me to go into it now إجماع lean on what what does it lean on the إجماع leans on the كتاب and the سنة it leans on it because wherever you're bringing إجماع form is based from the كتاب and the سنة like for example the صلاة the صلاة that it's obligatory to be prayed the five daily prayers ظهر عصر مغرب عشاء and فجر those five phrase are they obligatory is their خلاف that these صلاة are not obligatory is their خلاف the إجماع is من عقد there's a consent no one can come and say I'm of the view ظهر عصر مغرب عشاء and فجر are not obligatory why because because generation after generation they've unanimously agreed upon that the صلاة the five daily prayers is what it's obligatory and you have to pray it does that make sense but this إجماع where did it come from it came from the ayah وقيم الصلاة established the prayer all of the علامة understood the ayah in the same way no none of them said that this command here is ليل استحباب that it's recommended to pray ظهر عصر مغرب عشاء all of them when they looked at the ayah they all took from it that these five daily prayers that it's واجب فرض عيم that it's obligatory for everybody to pray other matters you find that they have this command is it obligation is it recommended but not on the صلاة so this إجماع is rooted from what the كتاب it's also rooted from the سنة خمسة صلاوات كتبهن الله عن العباد five daily prayers Allah made obligatory on the people so it's rooted from what the سنة the قياس is also rooted from the سنة how is it rooted from the سنة remember when you spoke about the four pillars of قياس قياس stands on how many pillars four the four pillars the first one is أصل then we have a فرع and then we have a علا and then we have a حكم those with the five and we will speak about in details later because as I said the sheikh رحمه الله تعالى each one he gave it a chapter the كتاب is got a chapter the سنة has a chapter the إجماع has a chapter and the قياس has a chapter we're going to understand them each and every one of them properly when we come to it إن شاء الله تعالى pay attention now the قياس has those four pillars that I mentioned those four pillars which was the first one I mentioned أصل and where's the أصل that it takes it from when you're giving the فرع the sub-branch you're trying to you're trying to do an analogy from an أصل where did the أصل come from where did you get it from the كتاب and the سنة so the إجماع and the قياس both of them are what they are both taken from the كتاب and the سنة where is the كتاب and the سنة أصل both of them are revelation the كتاب of الله is a revelation and it's Allah's word and the سنة is a revelation from Allah سبحانه وتعالى because Allah said in the Qur'an وَنَّجْمِ إِذَا هَوَا مَا ضَلَّ صَاحِبُكُمْ وَمَا غَوَا وَمَا يَنْطِقُرْ عَنِي الْهَوَا إِنْهُ إِلَّا وَحْيُمْ يُوْحَا and also الحفظ الحكم رحمه الله فالسنة النبي وحْيُن ثان عليهم فالسنة النبي وحْيُن ثان عليهم سنة is the second form of وحي revelation it's a revelation from Allah everything that the prophet said was a revelation from Allah سبحانه وتعالى so that's why the sheikh is saying وَمْ بَنَا دِيْنُهُمْ عليهم the religion is built on it والإجماع والقياس الصحيح but remember here he said إجماع which is صحيح so there's an إجماع which is what فاسد الإحتبار there's an إجماع sorry there's a قياس sorry there's a قياس which is فاسد baseless نعم وَهُمَا مُسْتَنِدَانِ إِلَا الْكِتَابِ وَسْشُنَّا so those both are what مُسْتَنِدَانِ so they are مُسْتَلِينَ on both of them on the Kitab and the Sunnah as I have explained as I have explained فالفق من أوله إلى آخر لا يخرج عن هذه الأصول أربعة فق from the beginning to the end لا يخرج عن هذه الأصول أربعة it doesn't leave these four أصول it doesn't leave what these four fundamental what were the four we took in about القتاب والسنة والإجماع والقياس والصحيح those four if you study a book either this Kitab سنة إجماع or a Qiyas which is صحيح those are the what those are those are the four أصول الأربعة four أصول which are the fundamental أصول which evidence extracted from فق is based on these four so you start from طهارة and you go to the last chat so قتاب العبادات and قتاب المعاملات all of them you are what you are going to be studying قال الله قال الرسول أجمع العلماء والقياس والدل القياس مهتز لك نعم وأكثر الأحكام المهمة تجتمع عليها الأدلة الأربعة نعم so the sheikh he is saying what and the majority of أحكام which are important the which are important pay attention the which are important تجتمع عليها الأدلة الأربعة of these four أحكام they bring them together these four أحكام they bring them together نعم now look at this example إن شاء الله تعالى that you'll understand this for example الله تعالى تبركه تعالى so the sheikh is trying to say وأكثر الأحكام المهمة every matters that are important you will find that the these four are all present in it you can see all four of them present in it let's just take one of it الله said in the Qur'an let's take بيع transaction by the permissibility of buying and selling الله said in the Qur'an سورة البقرة I-200 and I-275 الله said وأحل الله البيع الله has made permissible transaction but permissible transaction buying and selling so do you have an evidence from the Kitab here also we have evidence from the Sunnah the Prophet he said the transaction the buying and the selling the people are of choice as long as they don't leave each other as long as they don't leave the gathering as long as they what they are still at the place everybody is of what this is of choice I can buy it from you if I want to I can say I don't like it I don't want it because I have what this major is here right now this sit that we're sitting here is a major of choice when I leave it it's a different situation we'll talk about that in so this حديث what does it show the buying and selling is permissible so we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a we have a لأن العلمة ينانميسي اكتبت باستخدام البيانستانيس و العالم الذي يوجده لذلك لدينا اجمع ماذا يترك now؟ القياس الصحيح الاعتبار القياس الصحيح الذي يأخذها القياس يتعلق القياس لا يجب على هذا ماذا؟ لأن المعاملات المالية هذه المعاملات يقوم with one another in terms of finance أن all of the four that you take within the principles that قياس stands on it will permit it the قياس, the الصحيح, the فرع you can use it, not only that analogy shows what that the people's life is based upon what's in the hand of another person I need water and you need money you've got what I need and I've got what you need I can't rub it from you I can't steal it from you it's not good for me to beg you for it if I beg you that you're going to beg me so the Sharia I brought a way, what is what that I'm pleased to give up what I have and you're pleased to give up what you have and I need what's in your hand and you need what's in my hand and no one is forcefully taken from him his own property or what he owns نعم ويجمعوا عليها العلمة and the scholars they agree upon it so I've just shown that all four of them are present like that نعم ويدلوا عليها القياس الصحيح so the Majosa is a Hakan, I like that you can find an ayah for it you can also find a sunnah for it you can find a jma'ah for it and you can also find a qiaas الصحيح والإتبار all every one of them نعم لما فيها من لما فيها من المنافع والمصالح because of that which benefit that is in it meaning the Sharia when it came and then it made something and then it allowed it through the through the Quran and the sunnah and then the jma'ah of the ummah came together and then the qiaas shows it because it's benefit in the ummah for it نعم إن كانت مأمورا بها ومن المضاري إن كانت من هي عنها if the matter is something that is if the matter is something ordered there's a masala in it and there's a benefit in it there is باية which the example I just gave you transaction by selling is there not a benefit what me taking from you what you have and you have is there not a benefit and a benefit in there نعم ربا ربا which the Sharia are prohibited are you with me that the Sharia are prohibited okay we have the qitaab that prohibits it huh we have the sunnah that prohibits the riba the ijma'ah of the ummah are unanimously agree upon that the riba is haram I'm not talking about there are some sur there are some things that they differed is it a riba or not they differed on it whether it's riba or not but they agreed that the riba is haram and the qiyas also proves that the riba is haram why because somebody else is taking extra from what you did when you gave he's sucking your blood نعم so anything that the Sharia are prohibited there's also what there's a harm in it if it's prohibited نعم والقليل من الأحكام يتنازع يتنازع فيه العلماء وأقربهم إلى الصواب فيها من أحسن ردها إلى هذه الأسول الأربعة هذا الشيخ يقول يجب أن نفهم يجب أن نفهم الكثير من الناس يعتقدون that the disagreements that are in the issues of fiqa are more لا it's not it is more than other maybe other things but it's not a lot there are disputes that they differ in مسائل الأحكام it is little for example sit down and try to count the differences that there are in the matters of salah all of the علماء I give an example of the issue of the salah all of them they agree they all agree so they all agree that the salah what that the person who is praying the salah should stand up they all agree the person needs to read fataha they all agree that he has to do ruk'u they all agree that he has to stand up from ruk'u they all agree that he has to do sujud they all agree that he has to do atakbeer they all agree he has to leave the salah they all believe that he sits between the two these are مسائل which are what they all agree these issues they all agree what do they differ on whether it's wajib whether it's mustahab but the doing of it all of them agree you can do this but is it wajib is it not is it mustahab either what they differ on the salah or any مسائل of fiq are مسائل which are very little then the sheikh said something very powerful very powerful not many people understand this powerful and I think every single person has to put brackets in this point وقربهم and the people who are the closest الى الصوابي فيها to the correct stance the scholars they differ in matters of fiq they all go different ways but you know who is always the closest to the correct path who is always right most likely all the time is who من أحسنة anyone who perfects ردها bring it back الى هذه الأصول الى أربعة bring it back to those four mention points الكتاب والسنة والإجماع والقياس الصحيح anyone who is good at doing that bring it back to the Kitab bring it back to the Sunnah bring it back to what the إجماع and stick it to the إجماع and also when you show that he perfects the قياس that he uses here anyone who is able to do most of the time he is on the correct but anyone who says أبو حنيف يسأل ماليك يسأل and just blind follows it لا شك ولا ريب that that person is wrong is gonna be more than his right so the more you are stuck to the Kitab and the Sunnah and the إجماع and the قياس which is صحيح the more you get it right the more you get it right so that's a powerful قاعدة so you have to underline that and remember that وأقربهم إلى الصواب فيها من أحسنة ردها إلى هذه الأصول الأربعاتي نعم فصل في الكتاب والسنة أم الكتاب so the Sheq Raheema the Sheq Raheema he's gonna go into the the chapter that we're gonna that we've spoken about the Adilla where they taken from now he's gonna go to each one each one one after the other one after the other one after the other now this chapter the Sheq is not just gonna talk about the Kitab and the Sunnah so I'll add a heading I want everybody to add this to إن شاء الله تعالى I want everybody to add this to it which is الكتاب والسنة ودلالتهما the Sheq is talking about the Kitab and the Sunnah and the way to extract evidences from both of them that's what he's gonna teach you in this chapter he's not just gonna teach you the Kitab and the Sunnah he's gonna explain what the Kitab is he's gonna explain what the Sunnah is and then he's going to teach you how the أحكام of the شريعة how the jurisprudence rulings are extracted from the Kitab and the Sunnah he's gonna teach us what is known as نص he's gonna teach us what is known as ظاهر he's gonna teach us what is known as the types of مفوم he's gonna teach us he's going to teach us the types of دلالات all of that الشيخ رحم الله he's going to teach us so he starts with which one he starts with الكتاب أما الكتاب as for the Kitab he says now he's gonna start with the Kitab what is the Kitab it's what he's gonna start with نعم so now the Sheik starts by saying فهو the Kitab is the book the book here is فهو هذا القرآن العظيم it is this great book that we have this holy book that we have كلام رب العالمين it is the speech of Allah سبحانه وتعالى now we have to underline the word كلام كلام is a characteristics of Allah it is a characteristics من صفاتي سبحانه وتعالى from the characteristics of Allah سبحانه وتعالى like Allah has other characteristics and Allah سبحانه وتعالى has characteristics of the Sunnah divided into two سفات which are سفات ذاتية and سفات which are سفات رعلية سفات which are ذاتية which are characteristics that are attached to Allah سبحانه وتعالى متعليقة بداتي it is connected to Allah who is سبحانه وتعالى like knowledge like hearing like seeing those are always attached to him سبحانه وتعالى meaning Allah is always knowledgeable and he always knows there is not a time when Allah does not know Allah سبحانه وتعالى he is always hearing and Allah is always seeing سبحانه وتعالى those are called what سفات ذاتية there is another type of characteristic the second type is called سفات فعلية سفات فعلية سفات فعلية are characteristics which are attached will it is attached to what it is attached to Allah سبحانه وتعالى will meaning Allah does it whenever he wills Allah does it whenever he wills for example Allah comes down the last third of the night when he wants to سبحانه وتعالى as for the characteristics of speech it is both it is سفات ذاتية and it is also سفات فعلية it is سفات ذاتية and it is سفات فعلية they affirm the characteristics for Allah تبارك وتعالى in what way they affirm it by making sure that the affirmation of any characteristics they affirm for Allah they get it from the Kitab and the Sunnah whenever they affirm a characteristic for Allah they get it from the Kitab and the Sunnah when they negate a characteristic from Allah they negate it based on the Kitab and the Sunnah based on the Kitab it is the speech of Allah سبحانه وتعالى that's what the شيخ said نعم نزل به الروح الامين نزل به الروح الامين نزل به نزل به الروح الامين على قلب محمد رسول الله صلى الله عليه وسلم this Quran who came down with it نزل به he came down with it her جبريل عليه السلام he came down with this and from الله تبارك وتعالى what word was used what word was used نزالة was used نزالة to show what that the Quran that the Quran came from above and it came down that proves Allah is above his throne سبحانه وتعالى Allah is what Allah is above his throne سبحانه وتعالى as he said in the Quran الرحمن وعلى العرش توا I also forgot to mention the evidences that proved that the Quran is the statement of Allah or it's the speech of Allah that it's the speech of الله سبحانه وتعالى صورة توبة آية 6 الله says وإن أحد من المشركين استجارك فأجيروا حتى يسمع كلام الله ثم أبلوهم أمنا وصول الله سبحانه وتعالى صورة البقرة آية 75 يسمعون كلام الله ثم يحرفونهم من بعد ما عقلوه وهم يعلمون and many other evidences show that the Quran is the speech of الله سبحانه وتعالى the sheikh he said here that Jibreel came down with it what is the evidence for it الله سبحانه وتعالى he said وإنه لتنزيل رب العالمين نزل به الروح الأمين على قلبك لتكون من المنذرين بالسان العربي مبين so the Quran is a it came down from who الله سبحانه وتعالى and the person who brought it to Muhammad was Jibreel عليه السلام where did he send it down to the messenger صلى الله عليه وسلم the heart of the messenger because the ayah says it وإنه لتنزيل رب العالمين نزل به الروح الأمين على قلبك لتكون من المنذرين so pay attention to this the Quran should be in our hearts and that shows us that's where the Quran came from and that's where it should always be it should stay in our hearts we should always memorize the book of Allah سبحانه وتعالى when the prophet tried to read with Jibreel because Jibreel would come and he would read the Quran and the prophet and it would automatically go to his heart whenever Jibreel would come and try to read the Quran to the prophet the prophet would try to read it with him and Allah said to the prophet لا تحرك به لسانك لي تعجل به don't move your tongue fast so you can catch up with him إن علينا جمعه وقرانا فإذا قرأناه فتبع القرانا إن علينا بيانا هذا القرانا when it's read just listen where the ones that are going to compile it in your heart and where the ones that are going to clarify for you so the prophet was moving his tongue fast with Jibreel to read it with him so he can take it on quickly but Allah wanted to pour it into his heart it was poured into his heart and Jibreel would come every year once to sit with the prophet and to listen to his Quran except the year he was dying he done it twice to him and if our messenger was revising the Quran which is the speech of Allah سبحانه وتعالى then why would somebody else not revise the Quran and not give time to read in the book of Allah سبحانه وتعالى the sheikh he got exactly from me the ayah that I mentioned that the Quran it was sent to the prophet for what so he can warn warn who the criminals the wrongdoers in that means what it's to warn so the Quran the job that it does it is that it gives glad tidings and it also does what it also warns the people what is it what is it warn them from it warns them from the destruction that awaits them if they go against the command of who Allah سبحانه وتعالى if they go against Allah's command what awaits them and the Quran is in what language بالسان عربي مبين the question that arises is that is the Quran all of it Arabic is there any word in the Quran which is not Arabic because Allah is saying that the Quran is بالسان عربي مبين that the Quran is the Arabic language which is clear the scholars discussed that matter and they mentioned and they spoke about it good who is the Prophet sent to للناس كافة the Prophet was sent to everybody he wasn't just sent to the Arabs he wasn't just he was sent to every single person عليه الصلاة والسلام so the Prophet صلى الله عليه وسلم is not a prophet to the Arabs is a what he is a Prophet to everybody he is a Prophet to everybody صلى الله عليه وسلم as Allah تبارك وتعالى he told us وما أرسلناك إلا رحمة للعالمين we have not sent to you except a Masih to all of mankind the whole universe everything so our Masih صلى الله عليه وسلم he was sent to everybody صلى الله عليه وسلم والعليم في كل ما يحتاجون and he came out for every single thing that they are in need of everything that we need the Prophet صلى الله عليه وسلم he came to what he came to tell us and to explain it to us that's what he came for عليه الصلاة والسلام anything that would get us closer to Allah he would get us he would tell us ولي ذلك the Prophet صلى الله عليه وسلم he said ما من نبي باعته الله that there is no prophet Allah sent إلا كان عليه إلا كان حقا عليه أن يدل أمته على خير ما يعلمه لهم that there was no prophet that came before me except that if there was a good in a matter for his people it was obligatory on him to convey to his people he has to tell them what is good for them and also the opposite anything that is evil that has harm in it it is upon that prophet to go and to convey to the people that the harm that lies in that matter for them now the benefit and the harm brothers is it just religious matters or even worldly matters even worldly matters our messenger came to tell them about what what they need for their worldly matters and what they need for their hereafter matters نعم وهو المقرو بالألسنة والمكتوب في المصاحف والمحفوظ في السدور the Quran is what المقرو it's the one that's recited بالألسنة with the tongues what you're reading is the Quran المكتوب في المصاحف and that which is written in the Mus'haf is the book of Allah the book of Allah what we have here right now is the Quran is the Quran of Allah pay attention also المحفوظ في السدور and that which is memorized in the chest is the word of Allah all of that we refer to it as what كلام الله the words of Allah سبحانه وتعالى so what you're reading is the Quran of Allah what is on in the book is the Quran of Allah what is in your chest is the Quran of Allah what is in your chest is the Quran of Allah what is in your chest is the Quran of Allah leave these philosophical answers which is أخي أزد my actions created by Allah so if my actions are created by Allah as he said in the Quran Allah has created you all خلقكم وما تعملون and everything which you guys do Allah created it so my voice is created by Allah so then that means what I'm reading is created that is باطن and the Salaf refuted it نعم your actions نعم your actions are created by Allah your actions are created by Allah but what you're reading is the speech of Allah don't say the same philosophical باطن explanation which is what is in the Mus'haf it's ink the ink was printed somewhere and the print is made is manufactured and the book is manufactured the page لا look how the Salaf are and the علم out we're saying what is written in the Mus'haf this is the كلام of Allah good what you memorize in your chest is the speech of Allah as well all of it it is what it is the speech of Allah in that brothers what we really need to know is we stick to what the Salaf of this Ummah the pious predecessors what they said we say قف حي توقف القوم نعم الذي لا يأتي الباطل من بين يديه ولا من خلفه تنزيل من حكيم من حكيم من حميد this Quran no falsehood comes to it in the front لا يأتي الباطل does not come to it falsehood does not come from the front من بين يديه from the front من بين يديه means in front of you ولا من خلفه and not from behind تنزيل it is sent from who حكيم من حميد الله سبحانه وتعالى it is sent from and this what he got it from what he got it from the ayah صورة الفصيلة ayah 42 he got it from ayah to 42 صورة الفصيلة so based on that brothers what we learn from the Kitab before he moves on to the Sunnah is that the Quran is the speech of Allah جيبريل came down with it to the heart of the messenger Muhammad صلى الله عليه وسلم meaning in the Quran what does it lie in the heart of the people in the ayah وإنه ولا تنزيل رب العالمين نزل به الروح الأمين على قلبك لتكون من المنذين بلسان عربي مبين in another ayah الله سبحانه وتعالى بل هو آيات بينات في صدور الذين أوت العلم الله سبحانه وتعالى it is in the chest of the people of knowledge الله سبحانه وتعالى بل هو آيات بينات في صدور الذين أوت العلم 49 everyone in the arts that's where the Quran stays it's kept also ليكون من المنذين the Quran came to warn and the Quran is in what language in the Arabic language but then straight after that the sheikh said to you the prophet and the Quran was sent out for what


Yes, I think whoever thought of making the oboe, I wonder if I realized what they did. It took on a meaning just to say the oboe on it. So this means that all the corners are rounded off. Yes, and then it's kind of typical of young models that they can go round and round. Thank you very much. Yeah, maybe they're in the third way. Thank you very much. Thank you very much. Thank you very much. Thank you very much.