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Its an Arabic name which means “the father of happiness” or “city of happiness” It is to some extent a museum of the Sahara and Top-Plates, of which it contains all the elements”, offering “a synthesis of almost Saharan life”, a “postcard of the desert”, with “all that it is necessary to combine authenticates the illusion and it”, explain the tourist guides. In fact, a city built on a height, an amphitheatre, a true circus surrounded at its base by gardens of palm trees. A typical Ksar in a beautiful terrace.
An island in the middle of an ocean of sends.which cuts out on “the croup of the bluish mountains of which the feet are inserted in extreme sands of Hodna. The Ksar even is divided him into several districts corresponding to the seven principal fractions of Saharan tribes, with the traditional houses of *Toub*enclose high walls and all surmounted by a terrace. The Wadi runs with its feet in a bed deeply boxed between banks. “The small valley of Bou-Saâda which brings the river to the gardens is marvelous like a landscape of dream.It descends full with date palms, fig trees, of large splendid plants,between two mountains whose tops are red, the river, along this ravine, runs and sings.
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Let us recognize that Bou-Saâda is perhaps the only largest city of the Agerian South to offer a complete organization of great tourism. A range of hotels for all the purses, energy of modest but proper establishment with many hotels like the Hotel of *Caïd*.This last is particularly remarkable by its local framework and especially, made single in hotel annals of North Africa, by the private swimming pool of its gardens; not a pond with ducks, but a genuine basin of championship with modern diving board. The festivals of night particularly are successful there, especially when, on their thick pile wool carpets, Ouled-Naïl form this coloured fringe which is reflected in water.
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Mill Ferrero
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To finish this overall picture, we will not forget the “Mill Ferrero”, a very picturesque place, near to Bou-Saâda (2 km). A mill, dilapidated a little, is built in a procession of canyons of the happiest effect; a fresh water runs, winter like summer, along a splendid garden. Remain dreamed for misanthropist,the Ferrero Mill seems a place of ideal rest in the middle of the fields of violets and the trees of all gasolines, along the Wadi. It is in this place that the American and French scenario writers turned of the scenes of “Samson and Dalila” and “of Man to Man”. Excellent impression of “throats lost in the aridity of the desert.In Bou-Saâda, they still travel on the back of camels, the gazelles, the traditional foods of the South (chorba, Barboucha, couscous), the qualified guides, the races of camels . Thus a visit to Bou-Saâda can become a pretext to traverse other Algerian areas, in a country which abounds in tourist beauties. |
National Museum *Nasr-Eddine Dinet*
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.Dinet by him self.......................................................dinet_tombe
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Without exaggeration no, one goes, in the future, capacity to count at least three great moments in the existence of the national Museum Nasr-Eddine Dinet de Bou-Saâda. The first, that of its inauguration, the second, that of its reopening and the third, that of the first commemoration, next on December 24, of died of the painter.When it is known that the national Museum Nasr-Eddine Dinet, as a project, knew several adventures during a history which extends on more than sixty years, the first great moment, that goes from oneself, could be only that of its inauguration, on May 18, 1993. A date which, in addition, corresponds to the world Day of the museums.The festival, one remembers, was splendid. Many representatives of the community of the artists, cultural personalities as well as journalists of the newspaper industry, spoken - and filmed thereafter - had come from everywhere and even about Algiers for the circumstance.During the inauguration, the exposure gathered, in a room, works of Dinet which up to that point were dispersed in various museums of the country- museums of the Art schools of Algiers, Zabana d' Oran and Cirta of Constantine - and, in another room, those of the artist’s travellers of Bou-Saâda.
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