Algeria Showcases its Timeless Craftsmanship at the 39th Surajkund International Crafts Mela, India: A Sneak Peek into Algerian Arts

ุชู… ุงู„ุชุญุฏูŠุซ ููŠ:
By: Dr. Hana Saada
Algeria - India

Algeria Showcases its Timeless Craftsmanship at the 39th Surajkund International Crafts Mela, India

โœ๏ธ ๐“‘๐”‚: ๐““๐“ป. ๐“—๐“ช๐“ท๐“ช ๐“ข๐“ช๐“ช๐“ญ๐“ช

๐“๐“ต๐“ฐ๐“ฒ๐“ฎ๐“ป๐“ผ โ€“ ๐“•๐“ฎ๐“ซ๐“ป๐“พ๐“ช๐“ป๐”‚ ๐Ÿ๐ŸŽ๐Ÿ๐Ÿ” โ€“ Amid the vibrant swirl of colors, rhythms, and artistic ingenuity that define the 39th Surajkund International Crafts Mela, Algeria stands as a living testament to a civilization steeped in centuries of artisanal mastery. From January 31 through February 15, 2026, the Algerian delegation joins fifty other nations at this globally renowned platform, offering the world a window into a nation whose crafts are more than mere objectsโ€”they are an enduring expression of identity, history, and collective memory.

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The Algerian artistic heritage is a complex mosaic, forged at the crossroads of Mediterranean, Arab, Berber, Ottoman, and Andalusian influences. It embodies both the tangible and intangible, spanning traditional crafts such as copper work, pottery, textile weaving, embroidery, jewelry, leatherwork, wood carving, and palm-leaf craftsmanship. Each of these crafts is imbued with centuries of refinement, reflecting regional distinctions and a deep historical consciousness.

 

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A Journey Through Algeriaโ€™s Artisan Legacy

Copper Work: The Rhythm of History


The craft of copper work, celebrated in cities like Constantine, Tlemcen, and Algiers, represents one of Algeriaโ€™s most enduring artistic legacies. Artisans shape sheets of copper using traditional techniques of hammering and engraving, producing both functional utensils and decorative masterpieces. Beyond mere utility, these works encapsulate a historical dialogueโ€”every engraved motif, hammered texture, and patterned tray resonates with centuries of Algerian cultural memory. The rhythmic echo of hammer on metal, heard for generations, is itself a soundtrack of heritage, linking the modern artisan to the masters of the medieval era.

Photo pop-up - UNESCO Patrimoine culturel immatรฉriel

Pottery and Ceramics: An Ancient Language of Form and Color


Algerian pottery traces its roots to the Neolithic period, evolving through millennia to incorporate innovations from the Iron Age, Andalusian migrations, and Islamic artistry. Each ceramic piece reflects an interplay between material and imagination, from utilitarian vessels to intricately decorated objects. The heritage of Algeriaโ€™s ceramic tradition is distinguished by a synthesis of aesthetic sensibility and technical precisionโ€”geometric patterns, vegetal motifs, and calligraphic inscriptions converge to produce works that are at once functional and profoundly symbolic. Pottery in Algeria is not only an artistic practice; it is a chronicle of human settlement, trade, and adaptation across centuries, preserving the memory of communities long past.

Album - ARTISANAT ALGERIEN - ALGERIE DECOUVERTE

Produits d'art et d'artisanat : une belle et grande exposition ouverte ร  Alger - Maghreb

Textiles and Carpets: Woven Testimonies of Identity


Algeriaโ€™s textile arts are among the most emblematic of its cultural identity. Carpets (zโ€™rabi) from the highlands of Jebel Amour, the oases of Ouargla, and the Kabylie region exemplify the extraordinary diversity of techniques and motifs. Each region has cultivated its own symbolic language: the carpets of Tlemcen, for example, feature repeating geometric units in muted tones of black and deep blue, whereas those of Ouargla celebrate desert life with vibrant shades of red, green, pink, and ochre. Similarly, the carpets of Ghardaรฏa, crafted by the Mโ€™zabite community, are distinguished by their meticulous hand-weaving, bold geometric patterns, and a restrained yet striking color palette of earthy reds, deep browns, and occasional blues. These carpets bear cultural and spiritual significance, often used in ceremonial spaces and domestic rituals, reflecting the Ghardaรฏa societyโ€™s emphasis on order, harmony, and collective identity. Across all regions, these textiles are living repositories of social, spiritual, and environmental knowledge, reflecting the rhythms of pastoral life, the cycles of agricultural labor, and the nuances of community identity. Through weaving, Algeria communicates across generations, ensuring that the symbolic lexicon of each region is meticulously preserved and adapted to contemporary practice.

Le tapis de Ghardaรฏa ร  l'honneur : La trame du gรฉnie ancestral - Culture : EL Moudjahid

Embroidery and Traditional Clothing: Garments of Memory


The traditional attire of Algeriaโ€”karakou, kaftan, jellaba, and desert robesโ€”offers insight into centuries of cultural evolution. Embroidery, carefully executed with threads of gold, silver, and vibrant color, communicates stories of lineage, region, and social status. These garments are not static relics; they are living expressions of identity, evolving over centuries yet retaining the essence of their historical and cultural origins. From formal ceremonies in the northern cities to festive occasions in the Sahara, Algerian clothing embodies both functionality and elegance, preserving heritage while remaining responsive to environmental conditions and societal norms.

La signification culturelle de diffรฉrents styles de vรชtements maghrรฉbins | Maghreb Souk

Caftan Algerien Caftan Noir Brodรƒยฉ Robe Caftan Ete Robe Caftan Marocain Ou Algerien Caftan Tendance

Jewelry and Ornamentation: The Art of Adornment


Algeriaโ€™s jewelry, crafted primarily from silver and gold, is celebrated for its meticulous engraving, inlay of colored glass or stones, and symbolic motifs. The Aurรจs, Kabylie, and Hoggar regions each produce distinctive styles that echo local traditions and cosmologies. Jewelry is simultaneously artistic, cultural, and functional, serving as markers of social status, regional identity, and familial heritage. It represents a continuity of artisanal skill, passed down through generations, where every delicate twist of wire or polished gem reflects both technical mastery and cultural narrative.

Artisanat : vers la mise en place d'un label algรฉrien - Le Matin d'Algรฉrie

Leatherwork, Woodcraft, and Palm-Leaf Industries: Function Meets Artistry


The preparation and transformation of leather into durable, finely finished productsโ€”ranging from footwear and clothing to satchels and harnessesโ€”demonstrates a careful negotiation between material, labor, and tradition. Woodcraft, encompassing carved boxes, furniture, and decorative panels, similarly reflects centuries of refinement. In Algeriaโ€™s desert regions, palm-leaf (khous) crafts remain vital, producing mats, baskets, and architectural elements for homes. These materials, seemingly humble, are elevated by skilled hands into objects that are both utilitarian and artistic, testifying to the resourcefulness and creativity of Algerian artisans across time and space.

La maroquinerie en Algรฉrie - Montana Dreams

Cultural and Historical Significance


Algerian crafts are more than economic activities; they are repositories of historical knowledge and markers of national identity. Across centuries, despite colonial upheavals, economic crises, and social disruption, the people of Algeria have safeguarded their artisanal heritage. These crafts are transmitted from generation to generation, creating a living chain of cultural memory. They serve not only as symbols of identity but also as vehicles of social cohesion, economic sustenance, and intercultural dialogue.

Economic and Social Dimensions


Traditional crafts in Algeria are not solely artisticโ€”they underpin livelihoods, foster social cohesion, and promote regional economies. Women, men, and youth participate in these industries, often integrating domestic and professional spaces, and contribute to both local and national economic frameworks. The sector creates employment, encourages innovation within traditional forms, and sustains knowledge systems that might otherwise be lost to mechanized mass production.

Exhibition Overview and Significance


The 39th edition of the Surajkund International Crafts Mela, held annually in Faridabad, India, is one of the worldโ€™s largest and most prestigious celebrations of traditional arts and handicrafts. Drawing participation from over fifty countries, the mela provides a dynamic platform for nations to showcase their cultural heritage, craft expertise, and artistic innovation. Beyond its role as a marketplace, the mela functions as a forum for intercultural dialogue, fostering mutual understanding and appreciation among diverse communities. It highlights the critical role of traditional craftsmanship in preserving cultural identity while promoting sustainable economic development, offering visitors an immersive experience that combines visual splendor, live demonstrations, and interactive workshops.

Algeriaโ€™s participation in the Surajkund International Crafts Mela comes at a pivotal moment in the evolving Algeriaโ€“India partnership, which has recently gained momentum through high-level exchanges and targeted economic engagements. This visit builds on the progress generated by the Indian business delegation to Algeria, including the Indo-Algerian Business Forum in Algiers, which concentrated on the pharmaceutical sector and brought together nearly 100 Indian operators representing over 65 companies.

Beyond pharmaceuticals, both nations are actively exploring collaboration across infrastructure, energy, heavy industry, digital technologies, agriculture, and trade, signaling a deliberate strategy to translate historical friendship into a forward-looking, mutually beneficial economic partnership. Anchored in decades of political alignment, shared anti-colonial legacies, and reinforced by Southโ€“South cooperation, this engagement demonstrates Algeria and Indiaโ€™s commitment to forging practical, strategic, and sustainable ties.

 

 

โ€” ๐„๐๐ƒ โ€”

๐Ÿ“ก๐ŸŒ | ๐“๐“ซ๐“ธ๐“พ๐“ฝ ๐““๐”ƒ๐“ช๐“ฒ๐“ป ๐“ฃ๐“พ๐“ซ๐“ฎ ๐“œ๐“ฎ๐“ญ๐“ฒ๐“ช ๐“–๐“ป๐“ธ๐“พ๐“น | ๐ŸŒ๐Ÿ“ก
โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”โ”
๐Ÿ“ฐ ๐““๐”ƒ๐“ช๐“ฒ๐“ป ๐“ฃ๐“พ๐“ซ๐“ฎ ๐“ฒ๐“ผ ๐“ช ๐“ฝ๐“ป๐“ช๐“ฒ๐“ต๐“ซ๐“ต๐“ช๐”ƒ๐“ฎ๐“ป ๐“ฒ๐“ท ๐“๐“ต๐“ฐ๐“ฎ๐“ป๐“ฒ๐“ช๐“ท ๐“ญ๐“ฒ๐“ฐ๐“ฒ๐“ฝ๐“ช๐“ต ๐“ณ๐“ธ๐“พ๐“ป๐“ท๐“ช๐“ต๐“ฒ๐“ผ๐“ถ, ๐“ญ๐“ฎ๐“ต๐“ฒ๐“ฟ๐“ฎ๐“ป๐“ฒ๐“ท๐“ฐ ๐“ฑ๐“ฒ๐“ฐ๐“ฑ-๐“บ๐“พ๐“ช๐“ต๐“ฒ๐“ฝ๐”‚ ๐“ฌ๐“ธ๐“ท๐“ฝ๐“ฎ๐“ท๐“ฝ ๐“ฒ๐“ท ๐“๐“ป๐“ช๐“ซ๐“ฒ๐“ฌ, ๐“•๐“ป๐“ฎ๐“ท๐“ฌ๐“ฑ, ๐“ช๐“ท๐“ญ ๐“”๐“ท๐“ฐ๐“ต๐“ฒ๐“ผ๐“ฑ. ๐“ฆ๐“ฒ๐“ฝ๐“ฑ ๐“ถ๐“ธ๐“ป๐“ฎ ๐“ฝ๐“ฑ๐“ช๐“ท ๐Ÿ“ˆ 500,000 ๐“ญ๐“ช๐“ฒ๐“ต๐”‚ ๐“ฌ๐“ต๐“ฒ๐“ฌ๐“ด๐“ผ, ๐“ฒ๐“ฝ ๐“ป๐“ช๐“ท๐“ด๐“ผ ๐“ช๐“ถ๐“ธ๐“ท๐“ฐ ๐“ฝ๐“ฑ๐“ฎ ๐“ถ๐“ธ๐“ผ๐“ฝ ๐“ฒ๐“ท๐“ฏ๐“ต๐“พ๐“ฎ๐“ท๐“ฝ๐“ฒ๐“ช๐“ต ๐“ถ๐“ฎ๐“ญ๐“ฒ๐“ช ๐“น๐“ต๐“ช๐“ฝ๐“ฏ๐“ธ๐“ป๐“ถ๐“ผ ๐“ฒ๐“ท ๐“ฝ๐“ฑ๐“ฎ ๐“ฌ๐“ธ๐“พ๐“ท๐“ฝ๐“ป๐”‚.

๐Ÿ† ๐“๐”€๐“ช๐“ป๐“ญ๐“ฎ๐“ญ ๐“ฝ๐“ฑ๐“ฎ ๐“Ÿ๐“ป๐“ฎ๐“ผ๐“ฒ๐“ญ๐“ฎ๐“ท๐“ฝ ๐“ธ๐“ฏ ๐“ฝ๐“ฑ๐“ฎ ๐“ก๐“ฎ๐“น๐“พ๐“ซ๐“ต๐“ฒ๐“ฌโ€™๐“ผ ๐“Ÿ๐“ป๐“ฒ๐”ƒ๐“ฎ ๐“ฏ๐“ธ๐“ป ๐“Ÿ๐“ป๐“ธ๐“ฏ๐“ฎ๐“ผ๐“ผ๐“ฒ๐“ธ๐“ท๐“ช๐“ต ๐“™๐“ธ๐“พ๐“ป๐“ท๐“ช๐“ต๐“ฒ๐“ผ๐“ฝ ๐“ฒ๐“ท ๐“ฝ๐“ฑ๐“ฎ ๐“”๐“ต๐“ฎ๐“ฌ๐“ฝ๐“ป๐“ธ๐“ท๐“ฒ๐“ฌ ๐“Ÿ๐“ป๐“ฎ๐“ผ๐“ผ ๐“ฌ๐“ช๐“ฝ๐“ฎ๐“ฐ๐“ธ๐“ป๐”‚ (๐Ÿ—“ ๐“ž๐“ฌ๐“ฝ๐“ธ๐“ซ๐“ฎ๐“ป 22, 2022), ๐““๐”ƒ๐“ช๐“ฒ๐“ป ๐“ฃ๐“พ๐“ซ๐“ฎ ๐“ฒ๐“ผ ๐”€๐“ฒ๐“ญ๐“ฎ๐“ต๐”‚ ๐“ป๐“ฎ๐“ฌ๐“ธ๐“ฐ๐“ท๐“ฒ๐”ƒ๐“ฎ๐“ญ ๐“ฏ๐“ธ๐“ป ๐“ฒ๐“ฝ๐“ผ ๐“ฎ๐“ญ๐“ฒ๐“ฝ๐“ธ๐“ป๐“ฒ๐“ช๐“ต ๐“ฎ๐”๐“ฌ๐“ฎ๐“ต๐“ต๐“ฎ๐“ท๐“ฌ๐“ฎ ๐“ช๐“ท๐“ญ ๐“ฒ๐“ท๐“ฝ๐“ฎ๐“ฐ๐“ป๐“ฒ๐“ฝ๐”‚.

๐Ÿ“ฑ ๐“œ๐“ช๐“ผ๐“ผ๐“ฒ๐“ฟ๐“ฎ ๐““๐“ฒ๐“ฐ๐“ฒ๐“ฝ๐“ช๐“ต ๐“ก๐“ฎ๐“ช๐“ฌ๐“ฑ:
๐Ÿ”ด 600,000+ ๐“จ๐“ธ๐“พ๐“ฃ๐“พ๐“ซ๐“ฎ ๐“ผ๐“พ๐“ซ๐“ผ๐“ฌ๐“ป๐“ฒ๐“ซ๐“ฎ๐“ป๐“ผ
๐Ÿ”ต 6 ๐“ถ๐“ฒ๐“ต๐“ต๐“ฒ๐“ธ๐“ท+ ๐“ฏ๐“ธ๐“ต๐“ต๐“ธ๐”€๐“ฎ๐“ป๐“ผ ๐“ช๐“ฌ๐“ป๐“ธ๐“ผ๐“ผ ๐“•๐“ช๐“ฌ๐“ฎ๐“ซ๐“ธ๐“ธ๐“ด ๐“น๐“ช๐“ฐ๐“ฎ๐“ผ
๐Ÿ“ธ 70,000+ ๐“˜๐“ท๐“ผ๐“ฝ๐“ช๐“ฐ๐“ป๐“ช๐“ถ ๐“ฏ๐“ธ๐“ต๐“ต๐“ธ๐”€๐“ฎ๐“ป๐“ผ

๐ŸŽฅ ๐“ž๐“น๐“ฎ๐“ป๐“ช๐“ฝ๐“ฒ๐“ท๐“ฐ ๐“ฏ๐“ป๐“ธ๐“ถ ๐“ผ๐“ฝ๐“ช๐“ฝ๐“ฎ-๐“ธ๐“ฏ-๐“ฝ๐“ฑ๐“ฎ-๐“ช๐“ป๐“ฝ ๐“ผ๐“ฝ๐“พ๐“ญ๐“ฒ๐“ธ๐“ผ, ๐““๐”ƒ๐“ช๐“ฒ๐“ป ๐“ฃ๐“พ๐“ซ๐“ฎ ๐“ซ๐“ป๐“ธ๐“ช๐“ญ๐“ฌ๐“ช๐“ผ๐“ฝ๐“ผ ๐“ป๐“ฒ๐“ฌ๐“ฑ ๐“ช๐“ท๐“ญ ๐“ญ๐“ฒ๐“ฟ๐“ฎ๐“ป๐“ผ๐“ฎ ๐“น๐“ป๐“ธ๐“ฐ๐“ป๐“ช๐“ถ๐“ถ๐“ฒ๐“ท๐“ฐ, ๐“ฒ๐“ท๐“ฌ๐“ต๐“พ๐“ญ๐“ฒ๐“ท๐“ฐ:
๐Ÿ—ž ๐“๐“ฎ๐”€๐“ผ | โšฝ ๐“ข๐“น๐“ธ๐“ป๐“ฝ๐“ผ | ๐ŸŽญ ๐“”๐“ท๐“ฝ๐“ฎ๐“ป๐“ฝ๐“ช๐“ฒ๐“ท๐“ถ๐“ฎ๐“ท๐“ฝ | ๐Ÿ•Œ ๐“ก๐“ฎ๐“ต๐“ฒ๐“ฐ๐“ฒ๐“ธ๐“ท | ๐ŸŽจ ๐“’๐“พ๐“ต๐“ฝ๐“พ๐“ป๐“ฎ

๐Ÿ—ฃ๏ธ ๐“•๐“ฎ๐“ช๐“ฝ๐“พ๐“ป๐“ฒ๐“ท๐“ฐ ๐“ฒ๐“ท๐“ฝ๐“ฎ๐“ป๐“ช๐“ฌ๐“ฝ๐“ฒ๐“ฟ๐“ฎ ๐“ฝ๐“ช๐“ต๐“ด ๐“ผ๐“ฑ๐“ธ๐”€๐“ผ ๐“ช๐“ท๐“ญ ๐“ฎ๐”๐“ฌ๐“ต๐“พ๐“ผ๐“ฒ๐“ฟ๐“ฎ ๐“ฒ๐“ท๐“ฝ๐“ฎ๐“ป๐“ฟ๐“ฒ๐“ฎ๐”€๐“ผ ๐”€๐“ฒ๐“ฝ๐“ฑ ๐“น๐“ป๐“ธ๐“ถ๐“ฒ๐“ท๐“ฎ๐“ท๐“ฝ ๐“ฏ๐“ฒ๐“ฐ๐“พ๐“ป๐“ฎ๐“ผ ๐“ฏ๐“ป๐“ธ๐“ถ ๐“น๐“ธ๐“ต๐“ฒ๐“ฝ๐“ฒ๐“ฌ๐“ผ, ๐“ซ๐“พ๐“ผ๐“ฒ๐“ท๐“ฎ๐“ผ๐“ผ, ๐“ช๐“ป๐“ฝ๐“ผ, ๐“ช๐“ท๐“ญ ๐“ถ๐“ธ๐“ป๐“ฎ, ๐““๐”ƒ๐“ช๐“ฒ๐“ป ๐“ฃ๐“พ๐“ซ๐“ฎ ๐“ผ๐“ฎ๐“ป๐“ฟ๐“ฎ๐“ผ ๐“ช๐“ผ ๐“ช ๐“ด๐“ฎ๐”‚ ๐“น๐“ต๐“ช๐“ฝ๐“ฏ๐“ธ๐“ป๐“ถ ๐“ฏ๐“ธ๐“ป ๐“น๐“พ๐“ซ๐“ต๐“ฒ๐“ฌ ๐“ญ๐“ฒ๐“ผ๐“ฌ๐“ธ๐“พ๐“ป๐“ผ๐“ฎ ๐“ช๐“ท๐“ญ ๐“ฌ๐“ฒ๐“ฟ๐“ฒ๐“ฌ ๐“ฎ๐“ท๐“ฐ๐“ช๐“ฐ๐“ฎ๐“ถ๐“ฎ๐“ท๐“ฝ.

๐Ÿ“ฐ ๐“˜๐“ฝ๐“ผ ๐“น๐“ป๐“ฒ๐“ท๐“ฝ ๐“ผ๐“น๐“ธ๐“ป๐“ฝ๐“ผ ๐“ญ๐“ช๐“ฒ๐“ต๐”‚, โ€œ๐““๐”ƒ๐“ช๐“ฒ๐“ป ๐“ข๐“น๐“ธ๐“ป๐“ฝ,โ€ ๐“ฎ๐“ท๐“ณ๐“ธ๐”‚๐“ผ ๐“ธ๐“ฟ๐“ฎ๐“ป 50,000 ๐“ญ๐“ช๐“ฒ๐“ต๐”‚ ๐“ญ๐“ธ๐”€๐“ท๐“ต๐“ธ๐“ช๐“ญ๐“ผ ๐“ฟ๐“ฒ๐“ช ๐“ฝ๐“ฑ๐“ฎ ๐“ธ๐“ฏ๐“ฏ๐“ฒ๐“ฌ๐“ฒ๐“ช๐“ต ๐”€๐“ฎ๐“ซ๐“ผ๐“ฒ๐“ฝ๐“ฎโ€”๐“ฏ๐“พ๐“ป๐“ฝ๐“ฑ๐“ฎ๐“ป ๐“ฌ๐“ฎ๐“ถ๐“ฎ๐“ท๐“ฝ๐“ฒ๐“ท๐“ฐ ๐“ฝ๐“ฑ๐“ฎ ๐“น๐“ต๐“ช๐“ฝ๐“ฏ๐“ธ๐“ป๐“ถโ€™๐“ผ ๐“ถ๐“พ๐“ต๐“ฝ๐“ฒ๐“ถ๐“ฎ๐“ญ๐“ฒ๐“ช ๐“ต๐“ฎ๐“ช๐“ญ๐“ฎ๐“ป๐“ผ๐“ฑ๐“ฒ๐“น.

๐ŸŽ–๏ธ ๐“—๐“ธ๐“ท๐“ธ๐“ป๐“ฎ๐“ญ ๐”€๐“ฒ๐“ฝ๐“ฑ ๐“ฝ๐“ฑ๐“ฎ ๐“œ๐“ฎ๐“ญ๐“ฒ๐“ช ๐“›๐“ฎ๐“ช๐“ญ๐“ฎ๐“ป๐“ผ๐“ฑ๐“ฒ๐“น ๐“๐”€๐“ช๐“ป๐“ญ ๐“ซ๐”‚ ๐“ฝ๐“ฑ๐“ฎ ๐“ฏ๐“ธ๐“ป๐“ถ๐“ฎ๐“ป ๐“œ๐“ฒ๐“ท๐“ฒ๐“ผ๐“ฝ๐“ฎ๐“ป ๐“ธ๐“ฏ ๐“’๐“ธ๐“ถ๐“ถ๐“พ๐“ท๐“ฒ๐“ฌ๐“ช๐“ฝ๐“ฒ๐“ธ๐“ท, ๐“œ๐“ธ๐“ฑ๐“ช๐“ถ๐“ฎ๐“ญ ๐“›๐“ชรข๐“ฐ๐“ช๐“ซ, ๐“ช๐“ท๐“ญ ๐“ฌ๐“ฎ๐“ต๐“ฎ๐“ซ๐“ป๐“ช๐“ฝ๐“ฎ๐“ญ ๐“ช๐“ฝ ๐“ฝ๐“ฑ๐“ฎ ๐“—๐“ฒ๐“ต๐“ช๐“ต๐“ผ ๐“ธ๐“ฏ ๐“ฝ๐“ฑ๐“ฎ ๐“ฃ๐“ฎ๐“ต๐“ฎ๐“ฟ๐“ฒ๐“ผ๐“ฒ๐“ธ๐“ท ๐“ช๐”€๐“ช๐“ป๐“ญ๐“ผ, ๐““๐”ƒ๐“ช๐“ฒ๐“ป ๐“ฃ๐“พ๐“ซ๐“ฎ ๐“ฌ๐“ธ๐“ท๐“ฝ๐“ฒ๐“ท๐“พ๐“ฎ๐“ผ ๐“ฝ๐“ธ ๐“ต๐“ฎ๐“ช๐“ญ ๐”€๐“ฒ๐“ฝ๐“ฑ ๐“ฒ๐“ท๐“ท๐“ธ๐“ฟ๐“ช๐“ฝ๐“ฒ๐“ธ๐“ท, ๐“ฒ๐“ท๐“ฏ๐“ต๐“พ๐“ฎ๐“ท๐“ฌ๐“ฎ, ๐“ช๐“ท๐“ญ ๐“ฒ๐“ถ๐“น๐“ช๐“ฌ๐“ฝ.

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