DISCUSSION GUIDEKhorma

©2005 The CW Film Foundation, Inc. All Rights Reserved.Produced in collaboration with The Museum of Modern Art.

1 INTRODUCTION

2 NOTES TO THE TEACHER

3 ABOUT THE FILMSynopsisCharacters

4 VOCABULARY

5 ABOUT THE DIRECTORDirector’s StatementBiography of Jilani Saadi

6 GUIDE FOR LOOKING AT THE FILMFilm Aesthetics and Techniques

7 PROFILE OF TUNISIA: STATISTICS

8-11 PROFILE OF TUNISIA: BACKGROUND

12-14 SCREENING PREPARATION AND DISCUSSIONSImportant Themes Explored

in the Film Khorma

15 ONLINE RESOURCES

16 NATIONAL EDUCATION STANDARDS

17 STANDARDS FOR THE ENGLISH LANGUAGE ARTS

18 STUDENT HANDOUT: A QUICK GUIDE

19 2005 GLOBAL FILM INITIATIVE PARTNERS

Table of Contents

For information on the other Global Lens films and discussion guides, visit our website www.globalfilm.org

TABLE OF CONTENTSKHORMA: DISCUSSION GUIDE

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Each year The Global Film Initiative selects films from developing countries to be presented through the Global Lensseries, in collaboration with museums, film societies and other cultural institutions across America. Several ofthese films are selected each year for screening by high school students, as part of The Global Film Initiative’smandate to promote cross-cultural understanding through the medium of cinema. For each of these films adiscussion guide is developed, to engage students with stories and cultural settings with which they may beunfamiliar, by providing the background and context.

This is the discussion guide for the film Khorma, written and directed by Jilani Saadi. Saadi describes Khormaas a fable, about a misfit chosen for an important role in a community unprepared for the changes he brings.The Global Film Initiative is pleased to share this film with students, who may find resonance in its story of ayoung man transformed when he steps into his master’s shoes.

Introduction

INTRODUCTIONKHORMA: DISCUSSION GUIDE 1

2Notes to the Teacher

These materials are designed to assist teachers and educators in providing a context for using the film Khorma for9th to 12th grade classes in such disciplines as social studies, global studies, English language arts, visual artsand film studies.

We have included background for the film Khorma, including a synopsis of the film, the statement by Jilani Saadiand his biography. The discussion guide sets a historical, geographic and cultural context for Tunisia and the cityof Bizerte. The “Screening Preparation and Discussions” section provides discussion topics to enable students toengage directly with the story. Additional resources and suggestions for follow-up study complete the guide.

We hope that you will read through the entire guide and feel free to adapt the materials as appropriate to the needsof your students. As always, we appreciate your feedback about The Global Film Initiative’s Education Program. Weare interested to know how you have used the discussion guide, as well as responses from your students to thefilm. To share your comments or to make suggestions, please write to us at discussionguides@globalfilm.org.

NOTES TO THE TEACHERKHORMA: DISCUSSION GUIDE 2

3About the Film

Original Title: Khorma, enfant du cimetièreEnglish Title: KhormaCountry: TunisiaLanguage: Arabic with subtitles in EnglishYear: 2002Running Time: 100 minutesFormat: 35mm

SYNOPSIS

Khorma is one of the orphans who take shelter near the cemetery in the medina (the old city) of Bizerte. Khorma isolder than the others, but he’s a free spirit, keeping the boys entertained as they work, selling water and bread to peoplevisiting the graves of their loved ones. Under the watchful eye of his guardian, Bou Khaleb, Khorma learns the trade ofthe “crier of news” – announcing weddings and funerals in the square.

One day when Bou Khaleb is asked to announce a wedding, he has a premonition about the death of the bride’smother. Instead of the wedding, he announces the mother’s death, and leads the crowd to her door, chanting prayersfor the dead. The mother is in her kitchen preparing dinner; the crowd is stunned, the horrified family threatens BouKhaleb. A few days later, Bou Khaleb’s premonition comes true. He wakes in the middle of the night in agony – thedeath he predicted has come to pass.

The community is enraged and Bou Khaleb is distracted with guilt about the woman’s death, so Khorma moves him to asecret place in the medina. The leaders of the community need a new “crier of news” – and who better than Khorma,who couldn’t be clever enough to cause trouble. Khorma assumes his new role with gusto; he calls himself Billal, forthe man appointed by the Prophet to call Muslims to prayer. Khorma challenges the traditions of the cemetery – raisingprices, changing procedures and giving the orphans important jobs. The more authority he takes for himself, the moreKhorma stirs resentment among the elders; when he pushes too far, the entire community turns against him.

CHARACTERS

Khorma The main characterBou Khaleb Khorma’s guardian, “crier of the news”Kamel Friend of Khorma and leader of the kidsHallouma Daughter of Si Ali, friend of KhormaHadj Khalifa Leader of the communityMohamed Boy Gang leaderFatma ben Bakarat Mother of Sami and ZohraZohra Sami’s sister, the brideSami Brother of Zohra Si Ali Hallouma’s father

ABOUT THE FILMKHORMA: DISCUSSION GUIDE 3

4Vocabulary

Billal Name of the first muezzin, the man who called Muslims to prayer. Billal was an Ethiopian Blackman, appointed muezzin by the Prophet himself. The Prophet Mohammed had a saying that the eliteof his own tribe has no priority over Billal.

(Source: Shirin Ebadi, lecture at the University of Maryland, May 12, 2004; http://www.umd.edu/umnews/ebadilecture.html)

Dinar Currency of Tunisia, approximately 81 cents to the US dollar.

Hadj Title of respect given to a Muslim man (“Hajja” for a woman) who has made the pilgrimage, or hajj, toMecca. The hajj is the Fifth Pillar of Islam, and a central duty for all Muslims who are able, a spiritual“return to the homeland” shared by millions each year.

Henna Plant-based orange/brown/black-colored dye used for decoration (patterned stains for women, on handsand wrists). Henna designs are not implanted deep enough in the skin to be permanent (like tattoos),so the patterns disappear gradually as the surface layers of skin renew. Examples of ancient pottery andstatuary show exquisite henna patterns unique to tribes or countries in connection with major events,such as weddings. Berber tribes in Tunisia celebrated the Night of the Henna, the decoration of a bridebefore her wedding with characteristic Berber patterns, as long ago as 1200 BC. Under the leadershipof Ben Ali in Tunisia, this Berber heritage has been renewed as a component of the “Tunisian identity.”

Medina Original walled city in North Africa, often surrounded by more recent development. The medina inBizerte is next to the harbor. It is home to the fishmarkets, restaurants and souks of the old city.

Millimes Currency of Tunisia, 1/1000 of a Dinar.

Moussem Major religious or cultural festival.

Souk Open-air bazaar where artists and shopkeepers sell food, clothing, pottery and other handicrafts.

Zawiyya Religious society associated with the grave of a saint or holy person. Leaders of the zawiyya performreligious functions in the community, including praying for the dead and preparing for festivals. Thezawiyya building provides shelter to travelers, students, and those in need, including orphans and thehomeless. Although not always directly linked with a mosque, as religiously-based institutions, zawiyyasare used for rituals and daily religious observances.

KHORMA: DISCUSSION GUIDE VOCABULARY 4

5About the Director

KHORMA: DISCUSSION GUIDE ABOUT THE DIRECTOR 5

DIRECTOR’S STATEMENT

Khorma “offers a slice of life of an Arabic-Muslim city, a popular district of a Tunisian town. Using comedic tone and by bor-rowing the narrative style of the fable, I tackle questions which appear fundamental to me: in today’s Arabic-Muslim society,what is the nature of relationships among people? How do they experience authority? And what is the daily routine of theirMuslim faith?”

Khorma was filmed in the poorest district – but also the most conservative – in the town of Bizerte, in Tunisia. “At the begin-ning,” says Jilani Saadi, “I found it difficult with the residents, who did not want to open their homes to me; they were almostaggressive with me. During the first days of filming, with the sight of the trucks, their aggressiveness was real, and the crewbecame afraid. The people of Bizerte thought of us as foreigners come to film their misery to make fun of them! Gradually,with the film being made before their eyes, they discovered that I was Tunisian, child of their city, and that I told their dailyroutine as it was, without addition or omission.”

Source: http://cine.voila.fr/film/fichefilm_gen_cfilm=50943.html

BIOGRAPHY

Jilani Saadi was born in 1962 in Bizerte, and studied filmmaking in Paris. Khorma is his first motion picture. Following areexcerpts of his interview with the newspaper Tunisia Daily (Tunis-Hebdo) about making the film:

Tunis-Hebdo: As a script-writer, how did you arrive at the idea for filming Khorma, the fool? Did you base the story on realevents?

Jilani Saadi: All the scenes I write are taken from events and characters I’ve met in my life. All the characters named in thefilm live in Bizerte: Khorma, Bou Khaleb, Mohammed Boy, Hadj Khalifa, etc. That’s not to say that this storyhappened to them. Fiction, it seems to me, is an intensified reality which, to be emotionally effective, tran-scends what is real.

TH: Why this story about a mentally retarded man? What did you want to demonstrate by this? JS: I don’t see him as mentally retarded. Society labels him as weak. The story of this character is the story of a

whole person who is not granted the status he would like to have: this is a story of misunderstandings . . . Khor-ma is not what he seems: that’s the only way he can survive in this society.

TH: What is symbolic in the cemetery and the world of the dead? JS : Perhaps I exorcised the fears of my childhood . . . my grandmother lived near the cemetery and at night I was

terrified of walking nearby. It’s also a way to approach the fringe of the under-class, and to challenge today’sTunisian society about complex social links, between the modern and the old ways.

TH: In your film, one notices a wink toward Christ. What is that really about?JS: Unfortunately or fortunately for Christ, I didn’t intend a wink. It seemed right that the warning signs about

throwing rubbish appeared in the form of a cross . . . Since my film works as a fable that ends on a tragic note,one can find similarities to many myths.

Source: http://www.tunishebdo.com.tn/article.php?rid=5&id=5280, translated by K. WarrenSource: http://www.diplomatie.gouv.fr/mediasociete/cinema.gb/cooperation/production/films/2002/film10.html

6Guide for Looking at the Film

KHORMA: DISCUSSION GUIDE GUIDE FOR LOOKING AT THE FILM 6

FILM AESTHETICS AND TECHNIQUES

Film is unique as an art form in its synthesis of visual arts, writing, drama, movement, and sound. The following notes aboutfilm aesthetics and technique can be a guide for focusing students’ attention when viewing and discussing the film.

Editing (includes sequencing of shots and pacing)The sequence of shots builds meaning in a scene. Duration of shots affects pacing. Very brief shots, like those common tomusic videos, can be energetic or frenetic. Shots of long duration may slow down the rhythm of a scene, making it feel morelike everyday life. The types of shots used (long shot, medium shot, close-up) help create the rhythm of the scene and rein-force dramatic content.

It is the night before Zohra’s wedding. The filmmaker reminds us of Bou Khaleb’s premonition that Zohra’s mother is dead, andsets an expectation of something yet to happen, by alternating shots among three scenes: the women celebrating the Night of theHenna, when the bride’s hands are decorated for the wedding; the dancing and celebration of the men around the bridegroom,with drums and tambourines; and Bou Khaleb, anxiously praying for God’s forgiveness in the darkness of his room.

Music and SoundMusic may be used to emphasize a dramatic moment. Natural sounds from the environment may add texture to a scene.Sound effects such as a gunshot or crash can heighten drama. Sound can be used to suggest offscreen space, such as hearingaction that takes place out of the frame.

Tunisian music ranges from the plaintive chanting of prayers to joyous songs. Listen for the distinctive sounds of the instruments that accompany the singers:

Narrative StructureBeginnings and endings of films contain important clues to the arc of the story; thus asking the following questions may pro-vide great insights: Why does the film begin as it does? Why does the film conclude with this scene? What is the significanceof the final image?

Conflict is the backbone of traditional three-act dramatic structure. Stories usually revolve around the actions of a single pro-tagonist. Act One introduces the conflict, Act Two elaborates on it, and Act Three resolves it. However, dramatic structure inworld cinema may involve other narrative strategies. For instance, the story may highlight the events of everyday life, the focusmay be on several characters rather than an individual, the structure may be episodic or circular rather than linear, and the filmmay conclude without a clear resolution.

The film begins and ends on the beach, with Khorma celebrating his life. The film opens at midday, with Khorma running alongthe seashore with the birds. The story unfolds in the courtyards and alleyways of the medina, with their high walls and darkspaces reflecting the complex structure of life in the community. At the film’s end, Khorma walks toward the ocean at dawn: withthe new day he finds a new joy in being alive.

• the zokra, a double-reed instrument on which the modern oboe is based• the mezoued, similar to a bagpipe• the bandir, a hand-drum• the ud, similar to a lute• the tar, or tambourine

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KHORMA: DISCUSSION GUIDE PROFILE OF TUNISIA: STATISTICS 7

SIZE: 163,610 square miles, slightlylarger than Georgia

POPULATION: 10 million (CIA, 2005)

ETHNICITY: Arab-Berber (98%), European and Other (2%)

RELIGION: Islam (98%), Christian (1%),Jewish and others (1%)

LANGUAGES: Arabic is the official language, with Tunisian dialect. Frenchis sometimes used in commerce

LITERACY: 84% for men, 64.4% forwomen (CIA, 2003 estimate)

UNEMPLOYMENT RATE: 13.8% (CIA, 2003 estimate)

CLIMATE: Temperate along the Mediter-ranean coast, with mild, rainy winters;hot and arid in the desert region south ofthe Atlas Mountains.

GEOGRAPHY: Tunisia’s coastline stretch-es nearly 750 miles along the Mediter-ranean Sea, and has been strategicallyimportant for thousands of years. Biz-erte has functioned as both port andresort to conquerors from the Phoeni-cians to the Romans and Arabs, andrecently the French.

NATURAL RESOURCES: Petroleum; minerals, including phosphates, iron ore, lead and zinc; salt.

INDUSTRIES: Petroleum and mining, tourism, textiles and footwear, agribusiness (olives, grain, dairy products, tomatoes andcitrus, beef, dates, almonds)

CURRENT ENVIRONMENTAL ISSUES: Desertification – encroachment of the desert from the south compromising farm and graz-ing land; hazardous waste; water pollution.

Courtesy of The General Libraries, The University of Texas at Austin.

Profile of Tunisia: Statistics

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KHORMA: DISCUSSION GUIDE PROFILE OF TUNISIA: BACKGROUND 8

TUNISIA, CROSSROAD OF NORTH AFRICA

Tunisia is a small country on the Mediterranean coast of North Africa, sandwiched between Algeria and Libya.With its long Mediterranean coastline and natural harbors, Tunisia has been conquered and settled, vanquishedand resettled since the Phoenicians first arrived in about 1100 BC. The ruins of the ancient city of Carthage canbe seen just outside Tunis, the capital city of modern Tunisia.

Berber Culture of North Africa The Berber tribes are the oldest population of North Africa, dating to 2500 BC. The term “Berber” was appliedby the Greeks – Barbaros – to describe “outsiders” to Greek culture, but these tribes describe themselves asAmazigh – free people. There are several theories as to how they came to settle the beautiful coastline of theMediterranean. Some trace them to Shem, the son of the biblical Noah; others believe they originated in theMiddle East or Asia. The theories seek to explain their appearance: many Berbers resemble Europeans – tallpeople, with fair hair and pale complexions. Over the many centuries of their history in Tunisia, Algeria and

Profile of Tunisia: Background

Courtesy of The General Libraries, The University of Texas at Austin.

HOW FAR IS IT FROM BIZERTE TO:

Tunis 37 milesPalermo, Sicily 214 Algiers 380 Barcelona 500 Naples 344Marseilles 482 Casablanca 1,015Cairo 1,325

Athens 762Madrid 756 Paris 886 New York 4,325 Baghdad 1,959 Mecca 2,092 Istanbul 1,057

9Morocco, the Berbers have been conquered by the Phoenicians, Romans, Vandals, Byzantines, Arabs, Turks andFrench, and yet have retained their unique cultural identity as Amazigh. In recent years, both in Algeria and inTunisia, the Berber identity has become an important political force.

1100 BC: The Phoenicians The Phoenicians sailed the Mediterranean from Tyre, in what is now Lebanon. They built settlements on thenatural harbors of the North African coast, using them as outposts on trade routes through the Mediterranean toSpain. Their most famous city was Carthage, built on the coast outside what is now Tunis, the modern capital ofTunisia. The Phoenicians were skilled shipbuilders; from Carthage they dominated the Mediterranean forhundreds of years. They came to be known for their great capital city, as Carthaginians.

5th – 1st Centuries BC: Wars with Greece and Rome The strategic location of Carthage, and its vast empire on the coast of North Africa and on the islands of theMediterranean, made the Carthaginians natural targets for the rising empires of Greece and Rome. The Greeksdefeated the Carthaginians in three different wars in the fifth and fourth centuries BC, twice on the beleagueredisland of Sicily and then attacking the city of Carthage itself, in three years of destruction that began in 310 BC.

KHORMA: DISCUSSION GUIDE PROFILE OF TUNISIA: BACKGROUND 9

Profile of Tunisia: Background

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KHORMA: DISCUSSION GUIDE PROFILE OF TUNISIA: BACKGROUND 10

The wars with Rome resulted in a series of terrible losses for the Carthaginians, in spite of their heroic efforts.Under famous warriors such as Hannibal, who led his army and elephants through the Alps, the Carthaginiansfought to defend their land, but they were no match for the great Roman armies, who advanced on the city ofCarthage in 149 BC. In a fury of destruction and murder, thousands of Carthaginians were killed or sold intoslavery and the city itself was burned to the ground.

1st – 5th Centuries AD: “The Breadbasket of Rome” The Tunisian countryside north of the Atlas Mountains is fertile farmland, which the conquering Romans turnedinto the agricultural center of their empire. The Romans rebuilt the city of Carthage in the first century AD, alongwith other cities along Tunisia’s beautiful coastline, and for hundreds of years Tunisia was second only to Rome inits wealth and importance. However, as Roman power declined, her provinces became increasingly vulnerable.

7th – 16th Centuries: Arabia and Islam The Islamic empire advanced through Egypt and into North Africa in the 7th century, overwhelming the region bythe 8th century. The native Berber population quickly adopted Islam, but they resisted the harsh rule of Arableaders, and after a series of uprisings they seized control in 909. However, tribal wars over the next hundredyears destroyed the great cities of the empires, leaving the valuable lands of North Africa vulnerable to the Turks,who fought their wars with Spain across Tunisia in the 16th century.

1574 – 19th Century: The Barbary States The Turks conquered the coast of North Africa in 1574. From strategic ports along what became known as theBarbary States, the privateers of the Ottoman Empire launched raids against European ships in theMediterranean. They looted ships and sold Christians into slavery under the banner of a holy war sworn by theOttomans against Rome, but over time they began to strike deals with the governments of Europe, extortingransom payments in return for allowing merchant ships safe passage through the Mediterranean. The Barbaryprivateers patrolled the seas from Tunis and Algiers for hundreds of years.

19th Century: Arrival of the French The French challenged the Turks for control of the Barbary States during the 19th century, finally establishingTunisia as a protectorate in 1883. Under the French, the people of Tunisia were pressured to conform toEuropean culture.

20th Century: The Move Toward Independence By 1934, Habib Bourguiba founded a pro-independence party in Tunisia, but efforts to seek independence fromFrance were postponed when the Germans landed in 1942. Like the conquering armies of the past, both theGermans and the Allied Powers sought control of the strategic harbors of the North African coast. Key battleswere fought in Tunisia in 1942 and 1943, with the final push by the Allies through Bizerte and Tunis, leading tothe surrender of Germany and Italy in North Africa. Bourguiba’s pro-independence party took up the struggle toend French control after the war, and by 1956 the country was independent. Bourguiba was the first primeminister of sovereign Tunisia, presiding over French withdrawal from military installations over the next six years.

Profile of Tunisia: Background

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KHORMA: DISCUSSION GUIDE PROFILE OF TUNISIA: BACKGROUND 11

Profile of Tunisia: Background

“The Heart of the Maghreb”Tunisia is a land of many cultures. The ruins of ancient Carthage are visible in a suburb of Tunis; buildingsconstructed by the Romans still stand, and the old cities – the medinas, built under the Turks – are still the heartof community life in cities such as Bizerte. For Muslims, Tunisia is “the Heart of the Maghreb” – in Islam, themaghreb is the time or place of the sunset, the western-most point of the Islamic empire in Africa. The holy cityof Kairouan, in the south, has been central to Muslim life in Tunisia since the 8th century, when its mosque wasbuilt with the first minaret in Islam. The sacred well in Kairouan is said to draw its water from an undergroundriver that flows directly from Mecca. While Islam is the religion of nearly all people in Tunisia, the echoes ofTunisia’s multi-cultural history form a tapestry of its culture today.

Resurgence of the “Tunisian Identity”In 1987 there was a bloodless takeover of Tunisian government by Zine El Abidine Ben Ali, who had Prime Minister Bourgui-ba declared mentally unfit. In the years of his leadership, Ben Ali has attempted to control Islamic fundamentalist activities,but he has also encouraged a resurgence of the “Tunisian Identity” – which is Berber, overlaid by Islamic culture, with influ-ences from its rich history – Greek, Roman, Ottoman, and French. Despite some terrorist attacks and evidence of tensionwith its neighbors, Tunisia has been largely at peace under Ben Ali.

Bizerte: Resort and Strategic Harbor The Romans called this jewel of a city Hyppo-Diarritus (in Arabic, the name Bizerte is “Ben-Zert”, derived from Hyppo-Diarri-tus), and there was an ancient legend about a child who swam with the dolphins from the beaches nearby. Bizerte has been aresort for three thousand years, and its natural harbors have made it a strategic location for conquerors from the Romans to theFrench to the Germans and Allies in World War II. The medina – the old walled city – was built in the 17th century, and it stillthrives as the home of artists and tradesman, fish markets and restaurants.

Sources for Profile of Tunisia and Background: The World Factbook: Tunisia, http://www.cia.gov/cia/publications/factbook/geos/ts.htmlBBC News, Country Profiles: Tunisia, http://news.bbc.co.uk/1/hi/world/middle_east/country_profiles/791969.stmSurface distance between Two Points: http://www.wcrl.ars.usda.gov/cec/java/lat-long.htmBizerte: http://www.arab.net/tunisia/ta_bizerte.htmCarthage: http://i-cias.com/e.o/carthage.htmTunisia: History http://www.lonelyplanet.com/destinations/africa/tunisia/history.htmThe Berbere in North Africa: A View from the Inside http://www.lhup.edu/library/InternationalReview/7%20Mongi%20Bahloul13.htm“The Barbary Corsairs” by Cindy Vallar: http://www.cindyvallar.com/barbarycorsairs.htmlTunisia in World War II: http://www.army.mil/cmh-pg/reference/eacmp.htmTunisia: History http://www.internationalspecialreports.com/africa/00/tunisia/Music: http://www.virtualmuseum.ca/Exhibitions/Instruments/Anglais/cmam_particularites_en.html

12Screening Preparation & Discussions

KHORMA: DISCUSSION GUIDE SCREENING PREPARATION & DISCUSSIONS 12

Jilani Saadi filmed Khorma in Bizerte, his hometown, with the goal of providing an authentic glimpse into the life ofhis community. He based the characters on people he had known while he was growing up. In Khorma, Saadi makesa leader of a misfit to expose his community at its best – and at its worst.

OVERVIEW

The structure and pace of this film may be unfamiliar to American audiences. Story elements may be presentedin fragments and the filmmaker’s intentions may not be obvious – just as events occur in life, but not always aswe are accustomed to seeing them in film. Viewers are encouraged to notice the film techniques used to “put usin the scene.” The camera angles – from the bustle of the street to overhead views of narrow alleyways, to apanorama of the cemetery or the city square – make the old city seem familiar. The carnival atmosphere createdby music and dancing draws us into the celebrations around the wedding, and the solitary cry of religious chantsechoes Khorma’s isolation.

IMPORTANT THEMES EXPLORED IN THE FILM KHORMA

Scenes from Khorma have been organized around the themes of “Life in the Medina,” “The Misfit,” “The Crier of News,”and “Authority and Respect.” Students may focus their attention during the film through the lens of these themes.

As a suggested activity, assign each theme to a small group of students. Ask the students to watch for particular scenesor events that correspond to their theme, and to make mental or written notes as to how their theme is explored in thefilm. Students should note whether the film developed the theme as they expected, and if not, what happened instead.For each theme, scene references are provided along with questions to help you encourage discussion.

LIFE IN THE MEDINA

1. Khorma is set in the medina, the old city in Bizerte, Tunisia. Bizerte is a thriving resort city, with luxury hotelsalong its lovely beaches. The medina was built in the 17th century under the Ottoman Empire, and is a walledneighborhood of shops, restaurants and street vendors. What are some characteristics of the medina in Bizerte that you observed in the film? (for example, narrow streets,daily routine of the courtyards, calls to prayer at scheduled times during the day)

2. Khorma lives in the zawiyya, a shelter provided for travelers and students, and for orphans. The zawiyya inthe old city of Bizerte is one of many across North Africa on the pilgrim’s route to Mecca. All are foundednext to a cemetery, on or near the tomb of a saint. Some have become centers of learning, some are closelytied to a mosque. What are some examples of centers of learning, or religion, or shelter in other cultures? (for example, monasteries,missions, hostels)

13Screening Preparation & Discussions

KHORMA: DISCUSSION GUIDE SCREENING PREPARATION & DISCUSSIONS 13

THE MISFIT

3. Khorma stands out, with his European appearance and red hair, a reminder of his Berber heritage. The boystaunt him, saying that “Khorma” means blunder, or mistake. How does the film portray Khorma as a misfit? (for example, being mugged on the beach for singing; not being paid forhis work in the cemetery when all the others receive their pay) How do you think Khorma feels about being “different”?

4. Khorma runs along the beach singing to the birds, and urinates in the street. He tries to catch drops of water onhis tongue from freshly-washed laundry hung to dry. Bou Khaleb says Khorma is driving him crazy – and thatKhorma wants to replace him. How would you explain Khorma’s behavior? How would you describe his relationship with Bou Khaleb?

5. As the dawn breaks at the end of the film, Kamel runs to the trash dump, to free his friend. How would you explain Khorma’s behavior in this final scene? What do you think Khorma has learned?

THE CRIER OF NEWS

6. Khorma imitates a famous singer in a video, using the store window as a mirror to mimic the singer’s expression.The songs tell of destiny predicted by a psychic – one is about a future of love and happiness, and another isabout a life of sadness and suffering. What do Khorma’s songs about destiny have in common with Bou Khaleb’s announcements of weddings and funerals?

7. Instead of announcing Zohra’s wedding, Bou Khaleb announces her mother’s death, and leads the crowd to themother’s house. When the mother dies a few days later, and the “premonition” becomes “news,” Zohra’s brotherthreatens to kill Bou Khaleb. Compare Bou Khaleb, the “crier of news,” with a reporter or journalist. How does his announcement compare with astory in the newspaper or on TV?

8. The community elders order Khorma to take Bou Khaleb’s place. But: he must announce only funerals, notweddings, and he must stop dancing! Why do the elders restrict Khorma’s role as crier of news? Why do they order him to stop dancing?

AUTHORITY AND RESPECT

9. Bou Khaleb, as leader of the zawiyya, carries out daily Muslim observances, looking after the tomb of the saint,and offering prayers on request for people buried in the cemetery. What title might Bou Khaleb have in another culture? (for example, “brother” or “pastor” or “headmaster”) What aresome characteristics that make Bou Khaleb’s role unique?

10. When Khorma takes over as crier of news, he calls one of the vendors a thief, and he confronts the elders:“Shame on you,” he scolds them. “You shouldn’t call me Khorma! If I’m a blunder then God is stupid!” How does Khorma perceive his new role? What does he mean when he says, “If I’m a blunder, then God is stupid”?

14Screening Preparation & Discussions

KHORMA: DISCUSSION GUIDE SCREENING PREPARATION & DISCUSSIONS 14

11. As the crier of news, Khorma wears Bou Khaleb’s orange shawl and changes his name to Billal – the name of theEthiopian Black man appointed by the Prophet Mohammed to call Muslims to prayer. “That’s impossible,” theboys tell him. “Billal was black!” Khorma replies, “It’s all in the heart.” Why do you think Khorma takes the identity of Billal? What does he mean when he says, “it’s all in the heart”?

12. When Khorma takes over for Bou Khaleb, he changes the routine of the zawiyya, and he raises prices. Hegives more responsibilities to the orphans, and includes the young woman, Hallouma, when he talks to herfather about business. Khorma says things have to change, and the woman agrees – after the bride’s motherdied, everything changed.Why does Khorma think things have to change? What changed when the bride’s mother died?

13. Kamel, the young boy who looks out for Khorma, warns him that the elders are angry about the higher pricesand Khorma’s challenges to their authority. You need protection, says Kamel. You’re like Jesus Christ – youthreaten the powerful and nothing will stop them. In what ways does Khorma threaten the elders of his community?

14. Khorma’s solution is to hold a party and invite Mohamed Boy, leader of a gang that provides protection. Khormabargains with a grieving young woman, her house for the night in return for funeral arrangements for her uncle.When the elders arrive in a rage, Mohamed Boy hands him over for punishment. Mohamed Boy was enjoying the party with the others; why do you think he hands Khorma over for punishment?The elders have gone along with Khorma’s changes, until he holds the party in the young woman’s house. How do you explain their rage at Khorma? How do you think Khorma misjudged the elders – and Mohamed Boy?

15National Education Standards

KHORMA: DISCUSSION GUIDE NATIONAL EDUCATION STANDARDS 15

All five Global Lens 2005 education films conform to the national education standards.

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DAUGHTER OF KELTOUM

HOLLOW CITY

RACHIDA

UNIFORM

KHORMA

SOCIAL STUDIES

DAUGHTER OF KELTOUM

HOLLOW CITY

RACHIDA

UNIFORM

KHORMA

STANDARDS FOR THE ENGLISH LANGUAGE ARTSIRA/NCTE International Reading Association and National Council of Teachers of English

CURRICULUM STANDARDSNCSS National Council for the Social Studies

16IRA/NCTE Standards for the English Language Arts

KHORMA: DISCUSSION GUIDE IRA/NCTE - STANDARDS FOR THE ENGLISH LANGUAGE ARTS 16

1. Students read a wide range of print and non-print texts to build an understanding of texts, of themselves, andof the cultures of the United States and the world; to acquire new information; to respond to the needs anddemands of society and the workplace; and for personal fulfillment. Among these texts are fiction andnonfiction, classic and contemporary works.

2. Students read a wide range of literature from many periods in many genres to build an understanding of themany dimensions (e.g., philosophical, ethical, aesthetic) of human experience.

3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They drawon their prior experience, their interactions with other readers and writers, their knowledge of word meaningand of other texts, their word identification strategies, and their understanding of textual features (e.g.,sound-letter correspondence, sentence structure, context, graphics).

4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) tocommunicate effectively with a variety of audiences and for different purposes.

5. Students employ a wide range of strategies as they write and use different writing process elementsappropriately to communicate with different audiences for a variety of purposes.

6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation),media techniques, figurative language, and genre to create, critique, and discuss print and non-print texts.

7. Students conduct research on issues and interests by generating ideas and questions, and by posingproblems. They gather, evaluate, and synthesize data from a variety of sources (e.g., print and non-print texts,artifacts, people) to communicate their discoveries in ways that suit their purpose and audience.

8. Students use a variety of technological and informational resources (e.g., libraries, databases, computernetworks, video) to gather and synthesize information and to create and communicate knowledge.

9. Students develop an understanding of and respect for diversity in language use, patterns, and dialects acrosscultures, ethnic groups, geographic regions, and social roles.

10. Students whose first language is not English make use of their first language to develop competency in theEnglish language arts and to develop understanding of content across the curriculum.

11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacycommunities.

12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning,enjoyment, persuasion, and the exchange of information).

17Online Resources

KHORMA: DISCUSSION GUIDE ONLINE RESOURCES 17

BBC News: Country Profiles, Tunisiahttp://news.bbc.co.uk/1/hi/world/middle_east/country_profiles/791969.stm

The World Factbook:http://www.cia.gov/cia/publications/factbook/geos/ts.html

Tunisia: Historyhttp://www.lonelyplanet.com/destinations/africa/tunisia/history.htmhttp://www.internationalspecialreports.com/africa/00/tunisia/

Tunisia: Musichttp://www.virtualmuseum.ca/Exhibitions/Instruments/Anglais/cmam_particularites_en.html

Surface Distance Between Two Points:http://www.wcrl.ars.usda.gov/cec/java/lat-long.htm

Tunisia: Bizertehttp://www.arab.net/tunisia/ta_bizerte.htm

The Berbere in North Africa: A View from the Inside http://www.lhup.edu/library/InternationalReview/7%20Mongi%20Bahloul13.htm

STUDENT HANDOUT: A QUICK GUIDE KHORMA

Billal Name of the first muezzin, appointed by the ProphetMohammed to call Muslims to prayer.

Dinar Currency of Tunisia, approximately 81 cents to the USdollar.

Hadj Title of respect given to a Muslim man (“Hajja” for awoman) who has made the pilgrimage, or hajj, toMecca. The hajj is a central duty for all Muslims, aspiritual “return to the homeland” shared by millionseach year.

Henna Plant-based dye used to make patterned stains forwomen, on hands and wrists.

Medina Original walled city in North Africa, often surroundedby more recent development. The medina in Bizerteis next to the harbor. It is home to the fishmarkets,restaurants and souks of the old city.

Moussem Major religious or cultural festival.

Khorma The main characterBou Khaleb Khorma’s guardian, “crier of the news”Kamel Friend of Khorma and leader of the kidsHallouma Daughter of Si Ali, friend of KhormaHadj Khalifa Leader of the communityFatma ben Bakarat Mother of Sami and ZohraZohra Sami’s sister, the brideSami Brother of Zohra Si Ali Hallouma’s father

Khorma is one of the orphans who takeshelter near the cemetery in themedina (the old city) of Bizerte.Khorma is a free spirit, learning thetrade of “crier of news” under thewatchful eye of his guardian, BouKhaleb. One day when Bou Khaleb isasked to announce a wedding, he has apremonition about the death of thebride’s mother. Instead of thewedding, he announces the mother’sdeath, and leads the crowd to her door,chanting prayers for the dead. Themother is in her kitchen preparingdinner; the crowd is stunned, and thehorrified family threatens Bou Khaleb.A few days later, Bou Khaleb’spremonition comes true. He wakes inthe middle of the night in agony – thedeath he predicted has come to pass.The community is enraged and BouKhaleb is distracted with guilt at thewoman’s death; Khorma moves him toa secret place in the medina. Theleaders of the community need a new“crier of news” – and who better thanKhorma, who couldn’t be clever enoughto cause trouble. Khorma assumes hisnew role with gusto. The moreauthority he takes for himself, the moreKhorma stirs resentment among theelders; when he pushes too far, theentire community turns against him.

VOCABULARY

SYNOPSIS CHARACTERS

OPENING QUESTIONS ABOUT KHORMA

1. What did you like most about this film?

2. What scene comes to mind? Why?

3. Is there a character you identify with? Why?

4. What did you notice about how people related to each other in this film? How is that similar or different to yourown experience?

5. What is your lasting impression of this film?

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2005 Global Film Initiative Partners

BOSTONMUSEUM OF FINE ARTS

CHICAGOTHE GENE SISKEL FILM CENTER

CLEVELANDTHE CLEVELAND INSTITUTE OF ART

COLUMBUSWEXNER CENTER FOR THE ARTS

DENVERDENVER FILM SOCIETY

HONOLULUHONOLULU ACADEMY OF ARTS

MADISONUW-MADISON ARTS INSTITUTE

MIAMIMIAMI INTERNATIONAL FILM FESTIVAL

MINNEAPOLISWALKER ART CENTER

NEW YORKTHE MUSEUM OF MODERN ART

PORTLANDNORTHWEST FILM CENTER

SALT LAKE CITYSALT LAKE CITY FILM CENTER

SAN RAFAELSMITH RAFAEL FILM CENTER

SARASOTASARASOTA FILM SOCIETY

SEATTLECINEMA SEATTLE

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