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صيدا بوابة الجنوب ووريثة صيدون اقدم المدن شهرة واهلها اول من صنع الزجاج
By: ايمان سلامة
Date: 23 April 2014
وطنية - صيدا.. بوابة الجنوب ووريثة صيدون الفينيقية التي نشرت الابجدية
في بلاد اليونان، هذا ما ذكره مؤرخوها واعتبروه دورا حضاريا مهما بالاضافة
لاكتشاف مادة الصباغ الارجواني آنذاك في بحرها، اذ ان وقوعها على ساحل
البحر المتوسط في جنوب لبنان، على مسافة 45 كيلومترا باتجاه الجنوب الغربي
من بيروت جعلها صلة وصل بين المدينتين والعالم ويأتي ترتيبها الثالث في
المدن اللبنانية واكبرها في محافظة الجنوب.
وقد اجمع علماء التاريخ على انها اقدم مدن العالم شهرة بتاريخها والشاهد على ذلك مرفأها وقلعتها واماكنها الاثرية.
تسميات كثيرة اطلقت على هذه المدينة منها "صيدون" باللاتينية واليونانية
و"صيدو" بالعبرانية والاسم مشتق من كثرةالسمك في شواطئها، اذ ان اهلها
الاقدمون عملوا كصيادي سمك، وكما ذكر الكاتب الفرنسي جاك نانتي في كتابه
"تاريخ لبنان" (ص- 22) ان اول مدينة انشأها الفينيقيون هي صيدا حوالي سنة
2800 ق.م، وأسسها ابن كنعان البكر صيدون وسميت باسمه كما اورد الشيخ احمد
عارف الزين في مؤلفه "تاريخ صيدا" ان صيدا من اقدم مدن العالم واخذ اسمها
من بكر كنعان حفيد نوح وكان ذلك سنة 2218 ق.م او قبل ذلك، كما كانت تعرف في
ايام يشوع بن نون بأم المدن الفينقية.
عرفت هذه المدينة تاريخيا في الالف الاول ق.م، ونعمت بالازدهار اواخر
الالف الثاني وفي هذه الحقبة كانت تقسم الى قسمين - كما تدل نقوش معبد
- صيدا الكبرى او البحرية واشتهرت كمركز للصناعة والتجارة وتقوم المدينة الحالية مكانها.
- وصيدا الصغرى وكانت تقع في الضاحية على سفوح المرتفعات المحيطة بالمدينة.
ويذكر ان مجيء الفينيقيين الى بلادنا يعود الى الالف الثالث ق.م فقد اثبتت
عمليات التنقيب التي بدأت عام 1914 على يد الفرنسيين واستمرت حتى منتصف
الستينات، ان اليونان هم أو من اطلق تسمية "الفينيقيون او الفنيقيين" على
سكان الساحل السوري الاوسط والجنوب وكما كانت "فينيقي" تعني عند اليونان
اللون الاحمر، فقد استعملوها للدلالة على الساحل اللبناني وسكانه.
عرفت صيدا مراحل تاريخية عديدة بدأها الرومانيون ثم البيزنطيون فالامويون
والعباسيون والفاطميون والصليبيون والعثمانيون وغيرهم، اذ بعد انتهاء الحرب
العالمية الاولى وزوال الحكم العثماني وبعدما كانت صيدا معزولة عن باقي
الكيان اللبناني بفعل ارادة حاكميها حينها تم اعادتها الى الوطن الام وضمها
الى الجمهورية اللبنانية، فعرفت منذ ذلك الوقت بعاصمة لبنان الجنوبي.
اتت بعد ذلك مرحلة الاحتلال الغربي اي حقبة الانتداب الفرنسي والبريطاني
والتي استمرت حسب ما تشير اليه كتب التاريخ حوالي ثلاثة وعشرين عاما ليكون
يوم 22 تشرين الثاني 1943 تاريخ استقلال لبنان وهزيمة الجيوش الاجنبية
وخروجها من اراضيه.
ثم جاء الاحتلال الاسرائيلي الذي وقع في عام 1982 ودام نحو عشرين عاما
ليأتي 25 ايار عام 2000 تاريخا لتحرير لبنان باسره من هذا الاحتلال بفعل
صمود شعبه واهله في وجهه وانهزامه امام ارادتهم بالبقاء وحب الوطن.
استكشاف الحضارات ودلالاتها
بدأت عمليات التنقيب في عام 1914 على يد الفرنسيين وبقيت حتى منتصف
الستينات ثم عادت لتنشط عام 1998 بتمويل المتحف البريطاني مما ساهم بالتعرف
الى تاريخ صيدا وحقباتها المتلاحقة كما اوضح مشرفو البعثة البريطانية على
اعمال التنقيب والبحث، واشاروا الى انه يمكننا من خلال التعرف للطبقات
الارضية ان نسمي مراحل التاريخ الذي عاصرته مدينة صيدا عبر توزيعها وفق ما
6 طبقات من الصخر وصعودا ترقى لعام الالف الثالث (3000 ثلاثة آلاف سنة قبل الميلاد) وتسمى بالعصر البرونزي القديم.
اما الحقبة الثانية والتي تتألف من 8 طبقات فقد سميت بالعصر البرونزي
المتوسط والجديد وترقى الى الالف الثاني (2000 الفين سنة قبل الميلاد).
واخيرا هناك 5 طبقات وتعرف بعصر الحديد او الفينيقي الفارسي وتعود الى الالف الاول ق.م.
كما اكد الباحثون ان عمليات الحفر اظهرت طبقات اسلامية ورومانية ولا زال
البحث جار ولو عبر خطوات بطيئة لكشف المزيد من الادوات والاواني الذهبية
والفضية والقمح والشعير والفخار واعتدة حربية مدفونة وما الى ذلك من اشياء
تدل استعمالاتها على اصحابها والحقبات التي كانوا موجودين فيها.
اقتصادها تجارتها صناعاتها
كانت تعتمد صيدا بالدرجة الاولى باقتصادها على زراعة الحمضيات كالبرتقال
والحامض والموز وساعد في ذلك وجودها على سهل ساحلي خصب التربة وغزير المياه
وكثير الاشجار كما عرفت هذه المدينة زراعة القطن استمرت حتى منتصف القرن
ما كان يميز صيدا عن بقية المدن ان كل الحضارات والشعوب التي وطأتها وسكنت
فيها جعلت ساحلها البحري مقصدا تجاريا تعج فيه مختلف ملل العالم من اعجمي
وعربي وفارسي وتركي وغيرهم. اضف الى ذلك تجارة الاخشاب وصناعة السفن
واستخراج الصباغ الارجواني لطلاء الاقمشة.
يؤكد المؤرخون الذين عاصروا هذه المدينة ان اهلها الصيدونيون هم اول من
صنع الزجاج خاصة الشفاف منه، وانشأوا معامل لصناعته على طول الخط البحري
وصولا الى مدينة الصرفند المشهود لها بجودة الصنع عالميا وقتئذ، وتميزت
بصنع الآواني الخزفية والحفر والنقش وصب الذهب والفضة ومختلف المصنوعات
المعدنية، وهم اول من عني بتبليط الشوارع، وجعلوا لصناعة الفن شهرة واسعة
وصلت الى اهم ما وراء البحار ولا تزال في متاحف اوروبا حتى يومنا هذا
معروضات كثيرة لصناعات زجاجية صيدونية ملونة وجميلة.
اختلفت اصول سكان صيدا وجنسياتهم، ففي الزمن القديم ومع ازدياد حركة
التواصل التجاري بين المدينة والعالم باختلاف لغاته واديانه الا ان هناك
منهم من استقر وسكن صيدا كموطنا ابديا له واذا بحثنا عن اصل هذه العائلات
لوجدنا مثلا ان عسيران عائلة جذورها (ايرانية) حسب ما اورد لنا الباحث
الدكتور طلال المجذوب، وكذلك الديماسي وجذورها تعود لمدينة الدماس في
(سوريا) واما الاسكندراني فهي نسبة للاسكندرية العاصمة المصرية كذلك آل
المصري وسعد ينتمون الى الجذور المصرية ذاتها، واما آل البزري فاصولها
مغربية وتلفظ (البذرة) ويعود تاريخ هذه العائلة الى مئتي سنة او اكثر
والزنتوت والمجذوب ايضا ينتسبون للجذور ذاتها، الا ان المجذوب وقدمها يرجع
الى اربعمائة سنة.
اما عائلة قطب، فيعود اصل الكملة الى المراتب الصوفية الخمسة ومصطلح قطب
(هي المرتبة الاولى التي يصل اليها الانسان المتصوف اي المتدين من حيث
ادائه الديني وسلوكه في الحياة).
اما عائلة الكيلاني ومنشأها (ايران) واصل لفظ الكلمة (الغيلاني او
الجيلاني) ولكن اخطاء تسجيل الاسماء العائلية واردة في كل زمان ومكان
فتتغير الاحرف كتابيا، وخلافه لفظيا لا يغير من معالم واصول العائلة هذه او
اما اليوم ومع ترسخ جذور هذه العائلات دخل جيل اخر متلازم اسمه مع نوع
المهنة والحرفة التي يعمل فيها على سبيل المثال (صانع الجواهر) غدت صفة
مهنته اسما له الجوهري كذلك الحكواتي (الذي يروي الحكايات في المقهى
القديم) والزعتري (بائع الزعتر) البني (بائع البن) كذلك الاسماء التي تحمل
صفة قدح او ذم مثلا: ابو عقدة وابو ظهر وابو زينب وابوالشامات ونسبة لاداة
او نبات او حيوان او شيء كالابريق والكشتبان والبصل وغيرها.
هذه هي مدينة صيدا يختلف سكانها بجنسياتهم واديانهم وآرائهم، الا انهم
كلهم متفقون على انها هي الارض التي يحبون وهم يسعون دائما كما في القديم
كانت ام المدن، كذلك في العهد الجديد ان تكون رائدة المدن الطليعية.
ملاحظة: (اصول العائلات نقلا عن الباحث الدكتور طلال المجذوب في دراسة "اصول وتاريخ العائلات الصيداوية).
Lebanese vineyards reap the fruits of letting wine make itself
Date: 18 April 2014
Editor’s note: Stephen Quinn
travels the world for his weekly wine column and hopes to convey the
magic of the grape in ways that anyone can understand. The Daily Star
will be publishing Quinn’s columns, beginning with his visit to Lebanon courtesy of HORECA.
KSARA, Lebanon: Chateau Ksara is the oldest continuous winemaking
operation in Lebanon. Jesuit priests founded Ksara in 1857, and this
religious and teaching order continued to make wine until 1973, when a
local consortium purchased the estate.
Ksara has the largest output of any Lebanese vineyard, producing
almost 3 million bottles a year. It exports about 40 percent of that
total, higher than the national export average of about 30 percent.
The chateau has the largest area of natural caves of any vineyard in
Lebanon. The caves are about 8-12 meters below ground, and are natural
refrigerators. They maintain a constant temperature of between 11-13
degrees all year round, with 80 percent humidity. A fungus grows in the
humidity that helps to preserve wine.
James Palge has been one of Ksara’s winemakers since 1994 after arriving from France. He is also the technical director.
A highlight of my visit occurred when Palge opened a 1942 white made
by the Jesuits. The bottle was covered in fungus that needed to be
removed before the wine was presented. It was a majestic sweet wine,
smelling and tasting of coffee and walnuts, and could almost be
described as a spiritual experience.
Ksara is served on Middle East Airlines, and I enjoyed my first taste
of their 2012 Blanc de Blancs on my flight to Beirut. It is a blend of
50 percent sauvignon blanc, 30 percent semillon and 20 percent
chardonnay, and is the best-selling white in Lebanon. It is easy to see
why this delicate and floral wine is so popular.
Another memorable wine was the 2012 Gris de Gris, a blend of carignan
and grenache gris. It is delicate yet has splendid acid zing combined
with aromas and flavors of green apples and flowers.
The flagship wine is the Le Souverain, a 50:50 blend of cabernet sauvignon and arinarnoa. The latter is a hybrid of merlot and petit verdot developed in 1956.
The 2008 vintage is the current release and is majestic. Huge aromas
of blackberries, chocolate, carob and liquorice greet the nose before
subtle yet perfumed textures adorn the mouth. A wine to keep for decades
for special occasions.
is the chief winemaker at Chateau Ksara. His first vintage working
alone was in 1982, at the height of the Civil War. Maamari is proud that
even during the war years the vineyard produced a vintage every year.
Currently Lebanon has about 2,000 hectares under vine. Maamari
believes the industry needs to focus on quality because the maximum
vineyard surface available in Lebanon is only 3,000 hectares.
“That is why quality is very important, since we can never compete with volume.”
Another of the best-known vineyards in Lebanon is Chateau Musar,
founded in 1930. Gaston Hochar is the general manager, and grandson of
the founder. They share the same name.
The winery is in Ghazir, and overlooks the hills and bright blue
waters around Jounieh. Most of its grapes come from vines that received
Musar produces four levels in descending order: Chateau Musar, Hochar
Pere et Fils, Cuvee Musar and Jeunesse. Most of the levels consist of a
white, a rosé and a red. All wines are blends. The reds and rosé tend to use traditional international grapes while the whites employ indigenous varieties.
Jeunesse means “young,” and these are intended to be consumed early.
At the other end of the spectrum, the Chateau Musar wines are only
available after a long time in the cellar.
Musar releases its flagship white after eight years, while the red is available after seven years.
A colleague, Quentin Sadler, and I tasted the 2007 red, the current
vintage, then a 1998 and a 1977. The 2007 red is a blend of cabernet
sauvignon, carignan and cinsault. Think flavors of mocha, black fruits,
spices and zaatar, encased in an elegant structure of soft tannins.
The white is a blend of obeideh (66 percent) and merwah, the two most common indigenous grapes. The 2006 is the current release.
These two white grapes are also used for arak. Huge bags of aniseed
sat near the entrance of the winery when we visited, giving the place a
playful smell as we walked around.
I love the aromas of the Chateau Musar red and white. The reds have a
funky and earthy nose and are very distinctive. Indeed, while judging
in Beirut, I found it easy to identify the Musar red in a blind tasting.
A feature of the white is the way the flavors and aromas change each
time one approaches the glass.
Musar only uses natural yeasts and Gaston Hochar was at pains to
emphasize that there was no formula to Musar’s flagship wines. “We let
the wines makes themselves,” he said modestly. But such joy is no
We tasted a range of barrel samples from 2013 that will make up the
flagship red: cabernet sauvignon, carignan and cinsault. Separately they
are fascinating but combined they work a special magic.
Musar reds have become cult wines. Museum releases command high
prices. For example, the 1977 Chateau Musar red sold for 3.99 pounds a
bottle when released in the United Kingdom in 1984. It currently sells
for $420 a bottle at the winery. The 1996 vintage sells for $990 a
Limited space means that I am unable to mention other fine wines from
estates such as Karam Winery, Chateau Nakad, Chateau Florentine and
Ixsir. Lebanese wine exudes quality.
Fine dining, without the silver spoon
By: Elise Knutsen
Date: 18 April 2014
Lebanon: Rustic and raw, Chateau Nakad is a far cry from the more
corporate wineries in the neighborhood. In keeping with the homespun
atmosphere, the winery has started holding bespoke picnics.
Formal dining isn’t the order of the day, however.
“We aren’t planning on serving people with silver spoons,” explained
Jalal Nakad, the grandson of the Chateau Nakad’s founder who now runs
the winery with his father and two siblings.
But the overwhelming hospitality, verdant setting and delectable cuisine make the Chateau Nakad picnic an absolute must.
Nestled in a residential corner of Jdita, the property seems an
unlikely space for a winery. But a brief pre-picnic tour of the premises
reveals an impressive operation steeped in both family and regional
The original caves were constructed by Jalal’s grandfather in the
early 20th century from earth and hay, and still stand today. A black,
painted fish can be made out on the cave wall.
“It was back when the Ottoman’s were still here, and Christians were afraid to use the cross,” said Jalal.
A triangle stamped on a nearby wine storage area hails from the
mandate era, when French soldiers would lay claim to Chateau Nakad’s
best batches. A picture of French soldiers smoking cigarettes at the
winery’s entrance is on proud display in the living room.
While antiquated French equipment scattered across the premises gives
insight into the technical evolution of the winery over the past 90
years, an excavation of the area surrounding the house revealed that the
ancients had also used the property for oenological production.
As the family was renovating the house in the 1950s, a number of
Roman-era wine-making instruments were found, including a stone press
that the ancients used when crushing the grapes with their feet.
Heritage, tinged with nostalgia, seems to define Chateau Nakad, where
bottles of wine are still transported in tin Almaza crates from the
1960s, some still pockmarked with bullet holes from the Civil War.
After the tour, guests are led down a crude path to a small forested
area below the main house, where wooden pallets serve as a picnic table,
and stuffed potato sacks as cushions.
Groups can request their own menu and theme, based on their budget,
and the Nakads will do their best to accommodate, either preparing the
food themselves or ordering from a local caterer.
“I would like people to feel comfortable, to enjoy the beauty of
nature and the serenity of the place,” explained Lara Mariam Nakad, who
quit a marketing job in Dubai to return to the family winery last year.
“But at the same time I would like people to feel like they are being served,” she said.
The Daily Star enjoyed an embarrassment of meze and home-cooked
chicken on plastic plates while soaking in the pastoral scene. Both the
call to prayer from a local mosque and church bells could be heard over
the chirping birds and nearby stream.
Naturally, the meal was paired with two bottles of Chateau Nakad’s wine, a citrusy white and full-bodied red.
The curated picnics have drawn interest from neighbors in the small town, adding to warm, familial atmosphere, said Mariam.
“There was this couple having a picnic, and the neighbors came
by,”she recalled. “They wanted to see what was happening. I went to go
check on our guests, and I saw the neighbors sitting there, and they
were all singing together!”
After the meal, guests are invited for a small hike – or “promenade,”
as Mariam calls it – through the forested area. The casual ramble is
the perfect distraction for nature-starved Beirutis.
Back at the main house, Jalal and Mariam offer sweet cakes alongside
their latest product, Afandello, a local variation on Limoncello, made
from sweet tangerines.
A picnic at the Nakads is ideal for anyone seeking a unique, bucolic afternoon without corporate frills.
Civil War vanished immortalized in art
By: India Stoughton
Date: 17 April 2014
A total of 17,000 people are estimated to have disappeared over the
course of Lebanon’s 15-year Civil War. Close to 25 years after the
conflict was declared at an end, relatives of Lebanon’s missing are
still waiting for answers, many of them reluctant to follow the state’s
advice and declare their loved ones legally dead. In 1992, with the war
winding its slow way to a close and the families of those who vanished
during the conflict hoping desperately for news, multimedia artist Salah Saouli decided to tackle what had already become a taboo issue in a three-part installation entitled “Time Out.”
The artist, who works between Beirut
and Berlin, where he has lived for roughly 30 years, contacted the
relatives of missing individuals, listened to their stories and gathered
photographs of some of the thousands of young men whose fate remains
“I worked on this project for two years and produced
three main big works, three different installations,” the artist
recalls. “When I first did it, I worked for a long time and then after
six months I gave up. It was so difficult, especially because in ’92 it
was still very [current]. The relatives of the people were thinking
they’re still alive.
“I stopped for two months and then I
thought: ‘No. I mustn’t give up. I have to find a solution.’ I began to
think: ‘How can I make artworks that are visually very light and very
attractive and calm, and then later you begin to think about the work?’”
one of the trio of installations, Saouli gathered 23 portraits of
missing young men, all of whom were staring directly into the camera. He
printed two copies of each photograph, layering them atop one another
with a millimeter of displacement, so that when viewed head on they
appear still, but from an angle they seem to be moving, shifting in and
out of focus.
He mounted the portraits in light boxes and hung
them in a small room, which viewers entered through a single door. “You
have them all around,” he says, “and when you go inside, you are
converted to the object, because they’re all looking at you.”
work, which carries a huge emotional impact for Lebanese audiences, was
staged in Berlin in the early 1990s. Two decades later, a fraction of
the work is on show in Lebanon
for the first time. Three of the 23 portraits in “Time Out” form part
of the semi-retrospective of Saouli’s work currently on show at Hamra’s
Agial Art Gallery.
The show is comprised of installations on loan
from the private collection of the Y. Hayek Foundation, which is
organizing a series of solo exhibitions around the world to showcase the
work of the contemporary Arab artists in their collection, placing it
in a wider art historical context.
Saouli’s solo show consists of
fragments and photographs of 13 installation works completed over the
past 25 years, 10 of which form part of the Y. Hayek collection. The
artist chose to exhibit three additional works, which he says help to
round out the show and provide a comprehensive overview of his output.
“Time Out,” many of the works in Saouli’s show are closely tied to
Lebanon’s history, to war, collective trauma and to memory. Others are
showcased alongside the famous works from the Western art historical
canon from which they take their inspiration, and focus on more
“I don’t see the difference because I work on
a lot of things,” says Saouli, looking from a reduced version of his
installation “The Days of the Blue Bat,” exploring memories of the 1958
crisis in Lebanon and subsequent U.S. military intervention, to
photographs of “Composition for Mondrian,” an abstract outdoor
installation dwelling on the threat posed to nature by urbanization and
“We’re suffering because of the [lack of]
awareness about the environment. This is also a war but in a different
way. The other pieces have a more direct story and this is a little but
less direct but it’s all the things that disturb me, the things that I
think about all the time.”
Many of the works on show have never
been exhibited in Lebanon. Saouli wanted to exhibit “Time Out” at a
gallery in Verdun in 1996, he recalls, but the venue refused to show the
work, claiming people wanted to forget the war. While several of the
works reproduced in part or captured in photographs in this exhibition
were originally site-specific, many have a resonance in Lebanon that
may have been lacking elsewhere.
Unfortunately, the diminutive
size of the Hamra gallery has necessitated that Saouli present severely
constrained portions of the original works on show, but – with the help
of two false walls – the artist has succeeded in balancing the work in
the limited space available.
Beside “Time Out,” the oldest work on
show, are three books from the “Interrogation” series, part of a trio
of installations entitled “Best Seller,” which Saouli staged in Beirut
in 2000 as part of Ashkal Alwan’s “Hamra Project.” The flimsy pages of
medical books, packed with dense text, have been pierced from within by
jagged fragments of glass that jut menacing toward the viewer.
of this juxtaposition of delicacy and violence run throughout the show.
In the 1996 “Soundbarrier,” fragile Plexiglass sheets hang from lengths
of fishing line. Each thin sheet, on which a fighter jet has been
printed, sways gently in the wafts of air caused by the movements of
passing visitors. Below them, a circular pile of glass rectangles, many
smashes into glittering, lethal fragments, ties the ethereal work to the
weight of the destruction below.
The men’s blazers hung above
Agial’s staircase, next to Rene Magritte’s “Golconda,” the famous 1953
work capturing men in overcoats and bowler hats falling from the sky,
form part of “Con-fusion,” an installation originally staged in a ruined
Gothic church in Berlin. Agial’s staircase doesn’t provide quite the
same soaring effect, but it does at least offer viewers the chance to
crane their necks upwards from a precarious perch halfway up the stairs,
should they so wish.
“I was very careful to put things in a very
reduced form but still with flair,” Saouli says, “and with the
presentation well done ... The relationship to the space is very
While some viewers may experience a sense of
frustrated yearning to see the works as originally conceived, the
exhibition provides a valuable opportunity for locals to get a feel for
Saouli’s work. As with most installation pieces, however, the physical
interaction between viewer and artwork forms a crucial facet to many of
Saouli’s works, which is missing from the cramped show.
“I try to
put the observer in a special position so that they can think about the
works in a semi-interactive way,” Saouli says. “You perform a physical
action without thinking and then later you begin to think ... When it
works it’s really very effective. Turn on the TV today and you see a lot
of horrible images, so you shut it down. It's sometimes very important
to find a special [perspective], to find something new, [which] let’s
people go further and then think about it.”
“The Collection of Y.
Hayek: Series 1, works by Salah Saouli” is up at Agial Art Gallery in
Hamra until April 22. For more information please call 01-345-213.
Jounieh Festival shows to go on despite political tensions
By: Chirine Lahoud
Date: 16 April 2014
BEIRUT: Another season of long-anticipated concerts will kick off this summer, despite the political tension.
Neemat Frem, founder of Phellipolis, which sponsors the Jounieh
International Festival, expressed the event organizers’ determination
to hold the annual festival despite the fact that the security situation
in the country remains uneasy.
The program for this year’s festival was announced at a press conference Tuesday and the line-up promises a few surprises.
year it gets more difficult,” said Joe Beano, head of the festival’s
marketing committee. “We have to take risks every time.”
added that it had been more difficult to generate the required funding
this year in comparison to previous editions of the festival, but said
the support of several local banks and insurance companies had made it
possible for the event to go ahead.
As in previous years, the festival will kick off with a fireworks display in Jounieh bay on June 27.
will be ... synchronized with musical effects,” Beano revealed, adding
that it would be “broadcast on several television channels.”
some other editions of the festival, this year’s line-up includes
concerts and events catered to a wide range of musical tastes.
will conduct his orchestra on July 2, performing famous hits including
“Diala,” “Endless Love” and “Love Words,” among others. A member of the
legendary Rahbani family, he has written many songs for diva Fairuz and has also composed music for plays and television programs.
Aficionados of French music will be pleased to know that young French singer Zaz
will come to Jounieh on July 3 to regale audiences with her greatest
hits. Her talent was recently recognized with an award, presented by
French musician Jean-Michel Jarre
at the Grand Prix SACEM last November. Born Isabelle Geffroy, Zaz’s
rich voice will immerse the audience in her joyful mood through songs
including “Je Veux” and “On Ira.”
The concert that seems likely to be the biggest hit with local fans will be Imagine Dragons’ performance on July 7. The Grammy
and AMA-winning American alternative rock band rose to fame with tunes
such as “Radioactive” and “Demons.” They will be performing for one
night only in Lebanon, amid their European tour.
On July 10, the stage of the Fouad Chehab Stadium will be invaded by the singing team behind the French version of “The Voice.”
The finalists of the show will interpret the tunes that made them famous in their third consecutive performance in Lebanon.
in previous years, the organizers of the festival have also programmed
many diverse activities into their festival schedule. Roads will be
car-free and parades, carnivals and other events for children are
scheduled to take place.
The Jounieh Festival aims to show that,
unlike many of Lebanon’s summer festivals, the event is not only about
concerts and performances, but also about making audiences discover or
re-discover their city through social events.
The Jounieh International Festival runs from June 27 until July 10. For tickets, please call 01-999-666.
The delicious street food of Mina
By: Samya Kullab
Date: 12 April 2014
Lebanon: The demographically diverse Mina, the harbor town just five
kilometers from downtown Tripoli, is distinguished by its nautical
charms, guileless diversions and simple indulgences.
Some defining features of the area include the verdant islands off
the coast – four of which have been declared natural reserves where fish
are bred in their natural habitat – the town’s old lighthouse and its
breezy four kilometer seashore, which is almost always teeming with
people who’ve come from far and wide to take advantage of the fresh air.
Rambunctious children play along the corniche
on weekends as their parents stroll vigilantly by, youths whizz past
on bicycles and elderly men sit impassively on plastic chairs. Food
stands are a permanent fixture along the corniche and Mina’s winding
alleyways, where tantalizing aromas mingle with the salty sea air. In
many ways, Mina’s street food is like the marina city itself, ostensibly
simple to prepare, impervious to culinary trends and laden with a rich
RAW SCALLOPS In the early morning hours, Jamal Khaja
and his son Mohammad can be seen unloading piles and piles of freshly
fished scallop shells, which they hammer open and clean immediately so
they can be ready for the morning rush of customers along the corniche.
Fishermen dive several meters to pluck the shells, which can be
mistaken for rocks, along the sea floor. By 10 a.m., Jamal and Mohammad
have a giant bowl overflowing with raw scallops ready to be sold. They
decorate the stand with halved lemons and empty fan-shaped shells, their
fluted patterns glistening under the sun.
“We have to sell out all the scallops from the morning the same day,” Jamal says, “because they’re only appetizing for one day.”
For customers, the scallops are doused with lemon juice, cumin and
salt with chopped carrots on the side and sold for LL3,000 a plate.
Mohammad, however, prefers to eat them straight out of the shell after
he cracks them open by the sidewalk.
Scallops have become a popular street food in Mina after the demise
of “tutiya,” another type of mollusk with a spiky outer shell. Due to
over-fishing, they are no longer available in abundance Local vendors
fear the same fate awaits scallops as well.
“Gradually it will disappear,” says Abu Wassif, another vendor. “Best to enjoy them while we still can.”
STUFFED TRIPE In Mina’s fish market is Ibrahim Bandour’s famed fast
food eatery, serving an assortment of stuffed beef tripe and intestines.
Founded by his father Abdul-Nasser nearly 40 years ago, the restaurant
is one of few that still sells the delicacy.
Bandour says most restaurant owners are discouraged by the arduous
preparation steps necessaryto make the dish. But the Bandours have
forged strong relations with local butchers over the years, some of whom
have pledged to cater tripe to them exclusively. The
questionable-looking parts are displayed in a glass case outside their
To prepare stuffed tripe, the stomach of the cow has to be cleaned
and the fat trimmed off. It is then boiled and bleached, which gives
tripe its characteristic white color. Beef tripe is made from the first
three chambers of the stomach; the Bandours prefer the rumen, which is
the first chamber and has a flat and smooth texture.
The broth in which the stomach and intestines are cooked is set aside
to accompany the main dish. Once softened, the tripe is stuffed with
rice, minced meat, onions and almonds and cooked thoroughly. It is then
cut open and arranged with an assortment of dried mint, cumin, paprika
and salt. Customers can eat the rice with fresh bread or dipped in
The Bandours also have stuffed beef intestine, tongue and brain on
the menu, each requiring its own specialized preparation method and
costing between LL5,000 and LL8,000 per plate.
“Our business is open during the winter months,” Bandour says. “It’s too heavy to consume in the summer.”
KAAK FROM 80 YEARS Not far from the Bandours’ restaurant is Abu
Nazih’s kaak bakery, which has been making the specialty bread for 83
years. One of Mina’s charms is that its vendors are capable of relaying
how the preparation of near-staple items, such as kaak, has changed over
“Everything has changed, it’s not the same as it used to be,” the elderly Abu Nazih
says of how kaak used to be made. “Yeast was natural back then, we
used water soaked with chickpeas as a base. Now there are artificial
The difference is in the taste, he says: “It’s changed a great deal, it used to be fresher.”
But Abu Nazih has stayed true to the older methods. His oven, for
instance, is still fired by wood, which he collects and piles next to
it. Street vendors come by in the morning to buy his kaak, which they
spread with cream cheese for customers along the corniche, who stop to
take a breather from the day.
'Eco-Lebanon' offers must-read on local tourism
By: Beckie Strum
Date: 11 April 2014
Local anthropologist and tour operator Nour Farra Haddad has released
what is arguably the most comprehensive guidebook ever on ecotourism in
Broken down into five color-coded sections spanning 400 pages, “Eco-Lebanon
Nature and Rural Tourism: A Guide to Unveil Lebanon” is a joint
project between Haddad and the Tourism Ministry, with the help of
Hospitality Services. The book, a guided directory written in English,
aims to promote internal tourism among Lebanese as foreign visitors have
dwindled alongside security.
“The idea of the book, now
especially, is to develop domestic tourism because we all know nowadays
that we don’t have international tourists coming from abroad,” Haddad
told The Daily Star. “Their first impression to the book is ‘Do we have
all that in Lebanon?’”
The idea for the book came from Haddad’s
experience as a tourism consultant, receiving constant calls from
Lebanese asking where they can do certain activities.
“I thought it would be a good thing to put this data together,” she said.
security and rising sectarianism has pushed Lebanese to retreat into
their respective communities. That fact has caused a fear of exploring
and a major challenge in the development of domestic tourism, Haddad
Take south Lebanon, for example, where the stigma of war
and the region’s association with Hezbollah has discouraged tourism
despite its wealth of natural reserves, hiking and water activities and
Christian religious sites. “Unfortunately, the south is still associated
with war and violence,” Haddad said. “It’s the Lebanese reality. I know
we are all dreaming of moving around without these sorts of
Most, if not all, of the travel guides covering
Lebanon – such as Lonely Planet or locally produced guides – target an
international audience and offer a glance at the more famous and
well-operated touristic sites, places such as the ruins in Baalbek or
the Jeita Grotto. In contrast, “Eco-Lebanon” offers detailed contact
information about activities so far off the beaten path they even
surprised the writer, she said.
“When I submitted the project to
the Ministry of Tourism, it was just 200 pages, but as I was working on
it, I found so many things,” she said.
For example, Shebaa, an
area of south Lebanon, is rarely mentioned outside the context of
sporadic border skirmishes with Israel. But Haddad discovered there’s a
lot more to the area than the tense Blue Line.
For example, she
found the Museum of Water Mills, a historic and touristic site in one of
the least-visited areas of the country. There are also hiking trails to
Mount Hermon that start in Shebaa, where along the way hikers will find
traces of ancient Roman religious sites such as a stone enclosure in
At the peak of the mountain is a site for Austrian
U.N. peacekeepers. The book also explains that this is one of the last
habitats in the Middle East with wild bears.
It’s these obscure
facts that make “Eco-Lebanon” an unprecedented guide to the country.
Even sections on well-documented attractions, such as the booming wine
industry, include lesser-known or uncommercialized options in addition
to well-known sites. For example, the book lists 53 different vintners,
including monasteries and more obscure producers with private vineyards.
“Did you know that Phoenician ships are still being built in Tyre?” former Tourism Minister Fady Abboud
asked in the introduction. “Did you know that wonderful hiking trips
were rehabilitated by the municipalities of Daroun and Aintoura. ... Did
you know you can find more than 125 alternative lodgings in Lebanon as
social centers, monasteries and [camp sites].”
The help of the Tourism Ministry
in funding the project made it possible for Haddad to avoid
advertising in the book, which as a result takes an unbiased approach to
suggesting things to do. Each activity section includes options from
south to north and highlights particular projects and places based on
their novelty or merit only.
Lebanon’s official touristic sites
are few in comparison to the many privately operated or informal
activities. Agri-tourism is the largest section in Haddad’s book, for
example, but its activities are some of the most underdeveloped
attractions in the country.
A popular fall activity in the United
States, apple picking is one of the only pick-your-own activities that
are officially offered in the country, though fruit and vegetable
harvesting is a year-round occupation here. The olive and olive oil
season also has established pick-your-own outings, as well as press and
A sign of the book’s Lebanese audience, Haddad
suggests the reader ask around to friends and family to find a generous
farmer willing to give a tour of their land. If the reader’s social
network is confined to city dwellers, then Haddad has listed two dozen
farms, growing and raising all kinds of produce and animals, that
informally welcome visitors.
The guide is best used after a
careful read through. Buried in the small font and hundreds of pages are
activities some may never know to look up. Without an index at the
back, skimming the book and becoming acquainted with its subsections is a
must if you don’t want to miss out on some of the best tips in the
Readers can also hunt for obscure details by
looking for a recurring caricature of an old man, who offers help
information throughout the book.
Haddad was quick to point out
that “Eco-Lebanon” does not include everything, and that for some
subsections, her suggestions are just a selection of the options to, for
instance, dine next to Lebanon’s idyllic rivers. She also said she
designated the book’s offerings as ecotourism, but that she could not
ensure everything was 100 percent environmentally safe or sustainable.
That’s the nature of an underdeveloped industry, she said.
"We want to believe that there is still hope for tourism in Lebanon," she said.
"The Lebanese can make a difference if you give them the tools."
بقاعكفرا قرية تعبق بالقداسة تعانق بارتفاعها وجه السماء
By: انطوانيت شليطا
Date: 11 April 2014
وطنية - بقاعكفرا القرية الرابضة في الجرد العالي، تغفو على أعلى تلة في
لبنان والشرق الاوسط، حيث تلامس خدودها وجه السماء. قرية متواضعة تسمع على
دروبها ترددات التراتيل والصلاة وتشم عبق بخور وادي قنوبين... تمطر بنعم
قديسها شربل مخلوف شفاءات واعاجيب تجعل منها بحق أعجوبة القرن والقرية
النموذجية في العالم.
تتربع على كتف تلة عالية ترفض حياة المدينة، لان جوها الصافي يشعرك
بالأمان والهدوء والطمأنينة، وتشكل الزيارة اليها فرصة للتمتع بأجمل ما
صنعت يد الخالق، فالجمال الطبيعي فيها يحمل سحرا رهيبا، لان أيادي التشويه
والاساءة لم تجرؤ على لمسها. ويحس الزائز ان لمسات الخالق ما زالت مطبوعة
فيها. كما يخيل اليه، انه معلق بين السماء والارض، حيث ترتفع حوله جبال
شامخة وتلامس خدوده نسمات شمالية باردة معطرة بانفاس قاديشا وبخور الوادي
أبناؤها، وعلى الرغم من تطورهم وتقدمهم علميا ومهنيا وثقافيا، إلا انهم ما
زالوا أبناء الجرد الذي ما زال متمسكا بأصالته اللبنانية، مع الاشارة إلى
أن نسبة كبيرة من ابنائها رجال اعمال، بالاضافة الى تخصص جيل الشباب في
مجالات عدة اهمها الطب والصيدلة، والقضاء، والهندسة الزراعية وغيرها. كما
اشتهر ابناؤها بمطاعمهم المعروفة والمنتشرة في اكثر المناطق اللبنانية
والتي تعدى وجودها لبنان الى رومانيا.
يتميز سكانها بأنهم يعيشون وعدهم مع المسيح من خلال ممارستهم شعائرهم
الدينية اليومية، يشتهرون بالضيافة والكرم وحسن الاستقبال، ويتمتعون
بالصلابة والشجاعة هذه الصفات التي تمتد جذورها في الارض والتاريخ. يعرفون
بطيبة قلبهم وصدقهم وعفويتهم وايمانهم العميق. اما لهجتهم فهي شمالية
بامتياز، يعود اصلها الى اللغة السريانية التي كانت سائدة قديما في هذه
قرية، يشعر زائرها أنه ابن الطبيعة، تحبه ويحبها، ويشعر انه بحاجة للعيش
ببساطة دون تكلف، فهو يشرب من جرن مياه العين المنتشرة على طرقها، ويتزود
من خيراتها باصنافها المتنوعة والجيدة نسبة الى تربتها الغنية وكأنه يحتفظ
ببركة من هذه القرية الابقة بالقداسة.
واللافت فيها أنها ما زالت تحافظ على تراثها واصالتها، فالبيوت فيها قديمة
يحرص ابناؤها على قدمها وتواضعها تماما مثلما كانت أيام القديس، ليستشفوا
من خلالها الروحانية التي عاش فيها مدة 23 عاما قبل مغادرتها ودخوله الدير.
كما أنها لا تزال تحافظ على عاداتها وتقاليدها الاصيلة والفولكور يزين
سهراتها واعيادها ومناسباتها، فتقيم خلال اسبوع عيد مار شربل معرضا للمونة
البلدية من انتاج سيداتها، وسط الشارع القديم المؤدي الى منزل القديس، تعرض
خلاله كل الادوات والاواني التي كانت تستعمل قديما والتي تعيد بنا الذاكرة
الى ايام الماضي، وتقيم العرس القروي حسب الاصول التي كانت متبعة في القرن
بكلمة، قرية نائية ولكن مأهولة بسكان يعتبرون أنفسهم أنسباء قديس ذاع صيته
في أرجاء المعمورة... يبلغ ارتفاعها 1800 متر عن سطح البحر، ارتفاع أعلى
قمة في لبنان وهي القرنة السوداء. ويعيد المؤرخ فؤاد فرام البستاني تاريخها
إلى القرن العاشر، وحسب دراسة تاريخية اقامتها "ذاكرة البيوت الاثرية
الاوروبية في العالم" أن تاريخها يعود الى ألفي عام. إنها إحدى قرى قضاء
بشري، جارة ارز الرب المذكور مرارا في الكتاب المقدس. تشرف من موقعها على
بلدة المقدمين بشري، وتطل على وادي قنوبين الذي احتضن طوال اجيال 24
بطريركا مارونيا من 1440 حتى 1823، بالاضافة الى الحبساء والرهبان والزهاد
تسميتها سريانية مركبة من "بقاع" أي الارض، و"كفرا" أي الخصبة، بالتالي إنها "الارض الخصبة".
تصل اليها عبر طرق عدة: بيروت - شكا - اميون - حدث الجبة - بقاعكفرا.
طرابلس - الكورة - حدث الجبة - بقاعكفرا. اهدن - بشري - بقاعكفرا. دير
الاحمر - عيناتا - الارز - بشري - بقاعكفرا.
عدد سكانها تجاوز ال 30 الف نسمة ثلثهم في لبنان، والثلثان في ديار
الاغتراب، خصوصا في اميركا، اوستراليا، والمكسيك حيث هناك شارع يعرف باسم
عائلاتها: مخلوف، شليطا، لحود، نكد، ايليا، فخر، مارون، عيسى، مبارك،
سركيس، موسى، ليشع، داود، الخوري، بركات، بشاره، نعمة، كرم، قزحيا، زعرور،
يمين، بولس، طنوس، طراد، بطحاني، والياس.
يتميز مناخها بقساوته شتاء حيث تغمرها الثلوج معظم فصول السنة، اما مناخها
صيفا فهو ناشف وصحي، يقصدها اهلها والزوار لقضاء فصل الصيف او خلال عطلة
الاسبوع للتزود بالراحة والهدوء وخصوصا المرضى والعجزة منهم ليستعيدوا
عافيتهم من جوها الهادىء والنقي.
وهي تتمتع ببيئة طبيعية نادرة لعذوبة مياهها الصحية، وتنوعها النباتي
وغناها البيئي في مرتفعاتها ومغاورها الطبيعية القائمة حولها. تعمل البلدية
على حفظ هذه الخصائص من خلال حمايتها وإبقائها على طبيعتها، وتعزيز الثروة
النباتية والحرجية بزيادة مساحات الزرع والتشجير.
وتعد البلدية دراسات علمية متخصصة تقضي بتوفير مختلف شروط الافادة من هذه
الخصائص، وتحويل مجمل هذه الامكنة مواقع سياحية بكامل مقتضياتها، بالاضافة
الى تطوير انتاج بقاعكفرا الزراعي المتميز بجودته الفريدة.
تنتج أراضي بقاعكفرا كل أنواع الفاكهة والخضار، وأهم موسم فيها هو التفاح
الذي يعتبر بنوعيه الاحمر والاصفر الاجود في لبنان، وتتهافت عليه الدول
العربية لشراء محصوله نظرا لجودته وطعمه اللذيذ، ويأتي بعده موسم الاجاص.
كما كانت تعرف بقاعكفرا قديما بزراعة البطاطا التي تراجعت لأسباب عدة.
قرية أثرية، تشتهر بطبيعتها الخلابة وبيوتها التاريخية التي يعود بناؤها
إلى القرن الثامن عشر وتحمل غنى كبيرا من تراث الماضي ونقائه المهدد
بالضياع، ولكن هذا التراث، ولكي يبقى منارة وينبوعا روحيا، كان لا بد من
منقذ لترميم الآثار واعادة طابعها القديم والحفاظ عليه.
عادت الحياة إليها من جديد، بعد أن كانت شبه مهملة محليا إلا أنها حظيت
باهتمام متوسطي وأوروبي أعاد اليها الحياة. وهكذا بدأت قرية القديس تنفض
عنها غبار الأعوام الفائتة وتخرج عن صمتها لتقول للعالم إنها ستكون محط
فنظرا لما تتميز به من خصائص طبيعية وتراثية فريدة، أبرزها طابع البيوت
الحجرية القديمة، تم تصنيفها من قبل السوق الاوروبية المشتركة كرابع بلدة
نموذجية عالمية عام 1992، فأصبحت بيوتها في ذاكرة البيوت الاثرية في
العالم، بناء على تقرير ممثلي اللجنة الاوروبية لمنظمة "ذاكرة البيوت
الاثرية" MAISONS des MEMOIRE وذلك بعد اليسندريا في ايطاليا، وبالمجادو
مابوركا في اسبانيا، وقفصة في تونس.
وقد تقرر ترميم حوالى مئة منزل فيها يعود بناؤها الى بداية القرن الحادي
عشر، واعادة ترميم الآثار الموجودة، واعادة طابعها القديم والحفاظ عليه.
لقد اصبح لبقاعكفرا خرائط مساحة وطوبوغراف كاملة ومدمغة، وقد جرى مسح شامل
لكل البيوت التي هي بحاجة الى ترميم، والهدف من هذا المشروع تحويل القرية
متحفا عالميا، والدراسات اعدت لابراز طابعها التراثي في بيوتها وطرقها
وتتابع بلدية بقاعكفرا بشخص رئيسها ايلي مخلوف العمل على انجاز هذا
المشروع الذي يشكل مثلا نموذجيا للسياحتيين البيئية والدينية. يذكر ان
خبراء المؤسسة الاوروبية المذكورة قد اكتشفوا فيها آثارا صليبية ورومانية
مغمورة. كما اكتشفت في بحيرة القرية الزراعية بقايا اخشاب ارز مفحمة تعود
الى حوالى 2500 عام.
تشكل السياحة الدينية فيها الركيزة الاساسية في مجمل الحركة السياحية من هنا الاشارة اولا الى المواقع الدينية:
- كنيسة عماد مار شربل التي تقع تحت كنيسة السيدة الحالية على عتبة بابها
صليب يعود شكله الى ما بين القرنين السابع والثالث عشر، يربطها ببيوت
القرية دهليز او نفق تحت الارض فيها جرن عماد مار شربل وايقونة قديمة
- كنيسة السيدة الرعائية التي بنيت عام 1925 داخلها مزخرف يوجد فيها التحف
التالية: تمثال المصلوب، تمثال السيدة العذراء، وصورة زيتية للسيدة ايضا،
اضافة الى وثيقة الزمن الطقسي السرياني طبعة روما 1666 والشحيمة عام 1652.
- دير مار حوشب الذي شيد على اسم القديس اوسابيوس الشهيد الذي عاش في
منتصف القرن الرابع. اقيمت الى جانبه مدرسة تعلم فيها القديس شربل علومه
الابتدائية على يد الخوري يوسف مخلوف القديم. لا يوجد للقديس المذكور في كل
لبنان دير الا في بقاعكفرا ومزار في بلدة لحفد - قضاء جبيل.
- بيت القديس شربل وهو من اوائل بيوت بقاعكفرا العائدة الى القرن العاشر.
ولم تكن البلدة في ذلك التاريخ تضم سواه بالاضافة إلى عدد قليل من البيوت
الحجرية القديمة. ولد فيه القديس في الثامن من ايار سنة 1828 . منذ العام
1950 اصبح المنزل في عهدة الرهبانية اللبنانية المارونية التي انتسب اليها
في البيت القديم صورة لسيرة حياة القديس، ومنحوتات تمثل جميع افراد
عائلته. كما يضم الدير الجدير الملاصق لبيت القديس الاثري معرضا للايقونات
وفي البيت القديم والدير الجديد كنيستان للصلاة والتأمل والاحتفالات
الدينية. كما توجد فيهما اغراض كثيرة ولوازم طبية مثل العكازات والنظارات
وغيرها عائدة للمرضى الذين تماثلوا للشفاء بشفاعته.
وامام منزل القديس وفي ساحة الدير يرتفع تمثال كبير لشربل مصنوع من الحجر الصخري الابيض نحته الفنان جورج عون.
- مغارة القديس وقد امضى فيها عددا كبيرا من ايامه مصليا ومتأملا وساعيا
الى وجه الله. تقع المغارة في محلة عين الحور في الجانب الشمالي من
بقاعكفرا، اعتنى بها المونسنيور انطوان مخلوف حتى عام 1950. ثم تولت
ادارتها والاهتمام بها جمعية الراهبات اللبنانيات، فيها معرض ديني ونبع ماء
تفجر بفعل عجائب القديس يشرب منه المؤمنون ويأخذوا منه بركة سعيا للشفاء.
وقد تحولت هذه المغارة مزارا مقصودا من المؤمنين.
وتنتج فيها الراهبات اللبنانيات انواعا عدة من الاشغال الحرفية ذات الطابع
الديني. وقد حددت في المغارة المواقع التي كان يجلس فيها القديس شربل،
وابرزت الاغراض واللوازم الطبية التي تركها المرضى بعد شفائهم .
تحولت اعياد بقاعكفرا محطات سنوية تستقطب اعدادا كثيفة من المؤمنين
اللبنانيين والاجانب بمشاركة السلطات الروحية والزمنية، ولا تقتصر مناسبات
الاعياد على ايامها المحددة رسميا فقط بل تسبقها بايام وتتجاوزها بايام.
وتشهد تلك الايام امسيات صلوات وتأمل وندوات وشهادات حياة يشارك فيها
المؤمنون بكثافة. وتتحول القرية منارة للثقافة الدينية وللنشاط الروحي،
الذي يتعطش اليه انسان العصر وابرز الاعياد المحطات هي:
- عيد ولادة القديس شربل يحتفل به في الثامن من ايار من كل سنة، وقد اقيمت
له لجنة عالمية تحمل اسم اللجنة العالمية لاحتفالات القديس شربل، وتضم
نخبة من المؤمنين اللبنانيين والاجانب.
- عيد سيامة القديس أي سنة 1965 حيث اقرت الكنيسة المارونية ذكرى سيامته كاهنا عيدا يحتفل به في الاحد الثالث من تموز من كل عام.
- ومن المناسبات الدينية البارزة ايضا عيد انتقال السيدة العذراء في 15 آب
من كل عام واحتفال عيد مار حوشب في 5 تشرين الاول، وعيد مار سابا في 5
كانون الاول. هذه المناسبات يحتفل بها ابناء البلدة واصدقاؤهم اينما وجدوا
في لبنان وفي بلاد الاغتراب.
ونظرا للموقع المهم للبلدة فقد عمد رئيس البلدية ايلي مخلوف الذي انتخب
لثلاثة دورات متتالية، وقد استحوذ على احترام وتقدير اهالي بلدته لتضحياته
في سبيل الشأن العام، انتخبته بلديات قضاء بشري رئيسا للاتحاد تكريما
لجهوده وتضحياته في سبيل الشأن العام في المنطقة ككل. وكانت من اولوياته في
بلدته الام الاهتمام بجيل الشباب حيث يعول عليهم في المستقبل، فقد عمد الى
تأمين فرص عمل لهم ليثبتوا حضورهم في بلدتهم التي تعتبر مزارا عالميا.
واهتم بموضوع تصريف انتاج المزارعين الذي يؤمن لقمة العيش للذين يقطنون
صيفا شتاء في البلدة. وشكل فريق عمل من شبان وشابات مهمتهم ملاقاة الزائر
ومرافقته الى اماكن العبادة. وقد اصدر سنة 2001 دليلا سياحيا بعنوان
:"بقاعكفرا بلدة التراث والقداسة" بثلاث لغات، العربية والفرنسية
والانكليزية، يوزع مجانا على الزائرين.
وعمل على تحسين منظر البلدة من الناحية الجغرافية، فأعاد ترميم الحيطان
على الطرقات العامة، وزينها بالحجر الصخري القديم، ورصف طرقاتها ايضا
بالبلاط الصخري الجميل.
واهتم بالبنى التحتية والاضاءة والاشارات التي تدل السائح الى اماكن
العبادة، وشق على نفقته الخاصة شارعا عريضا يربط بقاعكفرا من كل جوانبها،
تسهيلا لحركة المرور امام الزوار خصوصا في فترات الاعياد ونهاية الاسبوع.
وساهم بالتعاون مع نائبي المنطقة ستريدا جعجع وايلي كيروز في تدشين بركة
مياه في جرد بقاعكفرا لتسهيل ري المزروعات بالتعاون مع الصندوق الكويتي.
ولا بد، قبل أن نختم، من الاشارة الى موضوع هجرة أبناء بقاعكفرا والتي
بدأت منذ القدم، وأول مغترب من المنطقة الى فنزويلا هو دافيد مخلوف الذي
اشتهر بتجارته وحسن معاملته للبنانيين هناك.
وتمكن احد ابناء بقاعكفرا المغترب غبريالو شليطا الى الترشيح الى
الانتخابات النيابية في سان باولو في البرازيل، وقد زار لبنان منذ حوالى 4
اعوام، وتعرف الى مسقط رأسه، وكان برفقة وفد اغترابي من اصل لبناني برئاسة
ريكاردو عازار، حيث وقعوا اتفاقيات تعاون واستثمار مع المسؤولين
وتولى احد ابناء البلدة ويدعى البيرتو كرم منصب قنصل لبنان في كوستاريكا
الذي يحرص اضافة الى مهامه الرسمية الى تعليم اللغة العربية الى ابناء
الجالية، ويقيم محاضرات عن لبنان لتعريف العالم الى بلده الام - وطن الارز.
أيضا وأيضا...توصلت ماري جوزف طراد الى مركز دبلوماسي مرقوق وهو قنصل
لبنان في المكسيك، هي التي ولدت في هذا البلد واحتفظت بلغتها وترجمة محبتها
لقريتها ولبنان عبر العمل الدبلوماسي.
اما اوستراليا فتضم اكبر جالية لبنانية من بقاعكفرا، حيث عدد الموجودين
فيها يفوق عدد المقيمين في لبنان وخصوصا في العاصمة سيدني، وهم يحملون
عاداتهم وتقاليدهم اللبنانية ويعرفون عن لبنان اينما حلوا.
الكلام عن بقاعكفرا لا ينتهي والغوص فيها يضيع، لذلك حاولنا القاء الضوء
على مساحة مهمة وكبيرة وعزيزة على قلوبنا، وتبقى زيارتها الشاهد الوحيد على
ما تحمله من كنوز. فقصتها قصة الذين ينظرون الى فوق...
Batroun native goes from boardroom to brewery
By: Venetia Rainey
Date: 10 April 2014
BATROUN, Lebanon: “We are beer lovers here,” says Jamil al-Haddad, his hands
playing with a mock-up bottle for the lager he is creating.
“In Batroun, if you go and visit someone in his home, he will not invite you
to drink coffee, he will offer you a beer. We have the highest consumption of
beer here in all of Lebanon.”It’s an unverifiable and dubious fact, but the
passion with which Haddad says it makes all of that irrelevant. For him, Batroun is about to become the epicenter of an
invigorated beer culture and the birthplace of the country’s soon-to-be newest
“So this is part of why I started to think, I’m from Batroun and I need to
brew beer. Khallas, this is how it started,” he says.
Slightly sunburnt and full of raw energy and barely contained excitement
about the months to come, the 30-year-old is the man behind not one, but four
thoroughly ambitious projects: a microbrewery, a restaurant, a bar and a bed
Pinning it all together is Colonel beer (pronounced the French way,
co-lo-nel). Coming to a supermarket near you this summer, Colonel is the
product of more than a decade of brewing experience, countless trips to Europe,
a handful of courses at foreign microbreweries and a portable home-brewing kit
brought back from London.
“I was 17 when I started to make liqueur at home, Irish cream, banana,
strawberry. I started in order to make a bit more money so I could buy myself
windsurf boards,” he says, gesturing to three large boards stacked up on
shelves in his tiny office. “I began while I was in the boy scouts, and then I
made it at home.”
Despite taking a hiatus after he moved to Beirut
and started working, his love for making his own grog never faded. At 24, he
traveled to London and had his first close-up
look at how beer is made during a tour of the award-winning Meantime Brewery in Greenwich. It was the spark
of an obsession that has gripped him until this day.
He threw himself into his passion, taking courses and landing work stints at
breweries across Europe.
“Eventually, I came back to Lebanon from London
at the age of 27 with my own home brewery kit that I bought in the U.K.” Haddad
explains. “I started brewing at home in Beirut and inviting my friends round to
have barbecues and beer tastings. I brewed bitter, lager, red ale, everything.
“It took me six months to make good beer, before that, I threw out
everything I made. When I finally got it right it was on New Year’s Eve three
years ago, I stayed at home and made English bitter. It tasted incredible.”
But trying to make beer and hold down a travel-intensive marketing role at
shoe brand Adidas proved too much, and last June he decided to quit his job,
pack up, leave Beirut and move back in with his parents in Batroun, a laid-back
coastal town that boasts the closest thing to a hippie vibe in Lebanon. The
plan was to brew a bit of beer in his garage and have more time to windsurf,
but it quickly turned into something bigger.
Stepping out of his office, he points to a spidery, metallic structure being
constructed on the centrally located plot of land he bought just between a main
road in Batroun and the Mediterranean Sea. It’s a long way off from the
digitally created pictures he has of a stylish microbrewery, restaurant and bar
all housed under one roof, and for the moment, visitors must imagine the vertical
walls of plants, glass panels and stylish light installations.
“We started building at the beginning of February, and we are planning to
have it finished in a few weeks,” he says.
He rubs his beard thoughtfully before adding, “There is a lot of work to
He picks up a chewed-up looking strip of multicolored plastic and smiles.
“This is what we are using along with recycled palettes for the building. It’s
called Eco-Board, and it will allow us to recycle over 1 million plastic bags.”
Designed by Ziad Abichaker, the environmental and industrial engineer behind
waste processing company Cedar Environmental, the durable material is totally
eco-friendly, a core aim of the Colonel project.
Walking around, he points at various empty spaces and conjures up an image
of their eventual purpose.
“This will be an outdoor area for barbecues, beer festivals and other cool
summer events, and this,” he points to an area nearest the sea, “will be for
three two-person bungalows.”
His vision is a place where visitors can relax, and further, be inspired to
start up their own projects, somewhere “they can feel that people can still
make a difference to the country.”
People will be able to tour the brewery – which will be visible from the
restaurant and bar – learn about how the beer is made and then enjoy local
Batroun food such as kibbeh samak and octopus along with a freshly poured glass
of the brown stuff.
“In the bar, we will do black Irish beer, red ale, lager beer and light beer
– less calories and less alcohol. The lager is for commercial sale, and
everything else will only be available on site.”
The obvious similarity is with 961, Lebanon’s flagship craft beer that does
several different flavors and is still the only local alternative to Almaza.
But far from being daunted by taking on the popular brand, Haddad is
“I think that 961 did
me a big favor, because they were second [after Almaza]. They proved to the
people here that we can have another beer,” he smiles broadly and looks down at
the Colonel bottle in his hands. “There is also competition, but this makes for
better beer. And that’s something I’m all for.” ...
Green Tara House: an Eastern oasis in Ashrafieh
By: Kate Maddox
Date: 08 April 2014
BEIRUT: Situated in the heart of Furn al-Hayek in Ashrafieh, Green Tara House is big and airy, with colorful rugs and textiles filling most rooms.
vibe is distinctly Eastern in the French Mandate-era house, however,
which goes well with the slew of new yoga classes and alternative
therapies being offered on the second floor of the old building. For the
next two days, the space will host a series of conferences and private
sessions with tarot master Patrick Spennato, who specializes in the late
18th century practice of reading the cards as a form of alternative
Green Tara Gallery, opened by Karima Hawwa in
December 2012, sells imported fabrics, art, furniture, rugs and clothing
from a whole slew of Eastern countries, some near and some far,
including Tibet, Nepal, India and Syria. Most of the goods are handmade, and all are hand-picked by Hawwa, who curates the space as well.
recently opened second floor takes its decor cues from the shop
downstairs, with colorful rugs and pillows scattered across the floors.
But the lack of furniture gives a hint of what the central area is now
used for: Group classes in yoga and meditation are held there most days
of the week.
The rooms off the central hall, presumably once
bedrooms, will be used for private massage and therapy sessions such as
aromatherapy, Thai massage and the alternative-medicine practice of
Reiki, Hawwa told The Daily Star, to give customers an “extra boost of
“People get drained by life, it’s very challenging all over the world but especially in Lebanon,” she said.
added that while the private sessions were important, it was the group
classes in yoga and mediation, as well as the conferences she has
planned, that would allow for more self-development. She first
envisioned expanding her shop to include an area for courses after a
memorable singing-bowl therapy session in Nepal, which inspired her to
create a space for such practices in Beirut.
“They will enable you to direct your own energy, to work on yourself,” she said of the courses.
One such conference is currently being held in the space until Wednesday with Spennato, who has traveled from Switzerland to lead introductory sessions and give private readings.
practiced for seven years, he uses the cards as a form of
self-discovery and not, as he emphatically insisted, for “divination.”
Spennato says, can be used to unlock unconscious energies that we may
be unaware of in order to reveal to “a new outlook on what is around us
and the world in general.”
Spennato said the tarot deck’s 22 major
arcana cards, all with significant meanings that, when dealt and laid
out a certain way, can be used “as tool to look inside oneself.”
like the practice of tarot that is used for fortune telling, the
self-discovery approach first entails asking a question of the cards.
Then, Spennato said, “a person can take a look at their cards and see
the energies” at play.
When the cards are laid out, each position
represents a different aspect of life, from past to future and the
various relationships in between. If a card is set in place the right
way, facing the asker, then this energy is “recognized.” If a card,
however, is facing the wrong way, then it means the energy is not
recognized and therefore “transformation is needed to bring that energy
to light, to reveal it from the unconscious.”
sessions, Spennato said, should allow enough time for two readings while
the conferences, being held from 10 a.m. to noon and from noon to 2
p.m. Tuesday and Wednesday, will offer an introduction to tarot as a
personal guide. At the group gatherings, Spennato will explain the
evolution of life from the Big Bang till now through the cards to show the order he says is present in the universe.
you aren’t ready to consult the cards just yet, visit the shop for the
calm vibes and beautiful textiles or check out a yoga class to get your
inner peace on.
For more information, please call 03-928-595 or visit facebook.com/greentarahousegallery.
Souk el Tayeb chills out in the evening
By: Beckie Strum
Date: 07 April 2014
In Saturday’s fading daylight, several scruffy-faced musicians and a
dozen children had transformed a nondescript parking lot in Saifi
Village with the acoustic melodies of childhood summer camp.
popcorn maker sat just beyond the benches of warbling kids, as did card
tables covered in freshly painted crafts. All that was needed was a fire
in the evening darkness to complete the illusion of being in the middle
of the woods instead of Beirut’s urban center.
Souk el Tayeb, Beirut’s landmark farmers market held at Beirut
Souks, has expanded its presence to Saifi Village. For its first
season at this new venue, the market is being held in the evening to
celebrate the warm weather with a weekly block party vibe: music, snacks
and an emphasis on family activities.
“The evening souk is more
about ready-to-eat food, nibbles and live music. ... This is the fun
souk,” Pamela Chemali, souk manager, told The Daily Star.
Saturday, Souk el Tayeb’s morning market, which opens from 8 a.m. until 2
p.m., offers the country’s small producers a chance to sell in the
city’s bustling Downtown shopping center. In contrast to the luxury
clothing brands and upscale eateries facing Souk el Tayeb, its booths
feature traditional pantry staples: balls of labneh in oil, zaatar,
vegetables, dried fruit and nuts, concentrated fruit syrups and fresh
Whereas the morning souk has an up and at ’em vibe – with
some stands selling out to early birds eager to stock up on mouneh and
quality raw ingredients for the coming week – the evening souk is about
Several producers, such as Oum Ali from Majdelzoun,
set up shop at both souks and thus spend more than 12 hours peddling
their homemade foods. After sunset, Oum Ali was still flopping pockets
of fatayer, dough stuffed with marinated spinach, onto her saj grill to
One of the highlights of the evening souk is the
abundance of free children’s activities with an educational bent.
Organizers Saturday hosted a maamoul cooking workshop for children with
Little Helps, a group of women raising money for needy people living in
Lebanon. A gathering of young girls helped press the traditional Easter
cookies into molds and bake them on site.
“They left with a
little box of maamoul they cooked themselves,” Chemali said of the young
bakers, who squealed with satisfaction as they showed off the fruits of
There was a painting station where children
decorated ceramic masks and paper fans. In the coming weeks, the
organizers plan to host more live cooking workshops for children and
other family-oriented events.
The souk has also set aside an open
space where musicians can jam together in hopes of bringing a little
busking culture to Beirut, which lacks the random street music often
found in other capitals, Chemali explained. A box for tips offered a
little incentive, though the musicians didn’t appear to need any as they
led children through rounds of Sheb Khaled’s “Aicha” and Bob Dylan’s
“Knockin’ on Heaven’s Door.”
To complete the summertime
atmosphere, managers at Souk el Tayeb originally wanted to open their
evening festivities in one the city’s scarce green areas. But to the ire
of many, Beirut’s parks are mostly closed to the public. A parking lot
located in one of Downtown’s swanky developments was the next best
thing, Chemali said.
“We don’t have public gardens, we have public
parking lots,” Chemali said. “At least it’s in the center of the city.”
Souk el Tayeb at Saifi Village opens every Saturday from 4-8 p.m. For
more information about upcoming activities, please visit
In with the new at Lebanon's wineries
By: Beckie Strum
Date: 06 April 2014
“You want something new? Come,” commanded Habib Karam, the owner of
Karam Winery. Rather than answer the question with his own vintage,
Karam hauled me through an exhibition of Lebanese wineries to his
competitor Chateau Nakad.
Nakad and Karam were two of around a dozen Lebanese winemakers
participating in the HORECA hospitality trade show at the Beirut
International Exhibition and Leisure center since Tuesday. For the
biggest gathering of the country’s food and beverage industries, local
wineries enticed show-goers with their latest innovations, such as
fresh, not-yet-bottled vintages and more adventurous spirits than the
One such example was Chateau Nakad’s meska liqueur. “Now, this is new,” Karam said, gleaming as if he’d made it himself.
Meska, also known in English as mastic or gum arabic, is an
ingredient derived from tree sap and used locally in ice creams and
sweets. It’s also often used to thicken jams.
The Greeks use meska to flavor two indigenous spirits under the
umbrella name mastichato, which inspired Jalal Nakad – the oenologist
and heir of the 90-year-old vineyard – to invent his own meska-infused
spirit several weeks ago.
Meska liqueur looks like arak and is served in the same way, with a
few ice cubes. But unlike arak, which belies its confectionary
appearance with the dry bite of aniseed, Nakad’s meska was as sweet and
creamy as it looked, with the deep aroma of the wood from which it was
sourced. The spirit is about 25 percent alcohol, from a combination of
grain and grape.
“Some like to drink it very slowly as an aperitif,” Nakad said. That
seemed the most suitable way to savor the very palatable spirit. He also
suggested using it in a mojito-style cocktail, made with ice, mint,
sparking water and citrus.
Meska liqueur was the second such dabbling by Nakad. A year ago, the
winery launched a citron spirit infused with orange and clementine peel.
Back at Chateau Karam, Habib Karam
disclosed his own pet project: a Cognac-style brandy that he has
titled Jezzineyac. “We can’t call it Cognac, but if we call it brandy it
sounds cheap,” he said. He stole the “yac” from France, as he put it,
and added “Jezzine,” the town where Chateau Karam is located.
Karam’s Jezzineyac is triple-distilled, barrel-aged in French oak for
two years and then rested in glass bottles for 14 years. To imbue the
fortified wine with the terroir of south Lebanon, Karam uses indigenous
grape varieties like miksasi, merwahi, hifawi and zawtarani, grown at
altitudes as high as 1,400 meters, he said.
Other Lebanese vintners may have tried to distill and age brandy
before him, Karam said, “but I’ll say this is the first commercially
The Phoenicia Hotel hosted several blind Cognac
taste tests, where – up against known French cognacs – Karam’s
creation took second place. A classic winter drink, Jezzineyac is best
served after dinner, with chestnuts beside a fireplace, Karam said.
After waiting more than a decade and a half, Karam is finally
breaking into the vintage – about 3,000 bottles of it – which will go on
sale for $105 per bottle in the next two or three weeks.
How to buy it?
“For this you’ll have to call us,” he said.
Some wineries have also turned to indigenous grape varieties, in a break from Lebanon’s French-centric industry.
Chateau St. Thomas’ team at HORECA were showing off their Obeidy
wine, a white made entirely from indigenous obeideh grapes. The wine
came about as part of an international project to promote the diverse
range of wine that is produced in Mediterranean countries, an initiative
called the Wine Mosaic Préserver.
Micheline Touma Nassif of Chateau St. Thomas
said the Wine Mosaic “are working to save the local wine grapes. The
obeideh grapes were taken from different areas of Lebanon.”
Made with 100 percent obeideh grapes, the white has a low alcohol
content of 12 percent. Chateau St. Thomas’ newest product, it caught the
eye of a wine writer for Harper’s Bazaar U.K. just this week. He
described it as an “attractive light-bodied aperitif.”
“It’s also great wine for summer,” Nassif added.
Speaking of summer wines, Adyar launched its light and fruity rose,
L’Aube, this weekend. Adyar is a collective of seven wine-producing
monasteries that specialize in double-certified organic wine.
Made from mourvedre and syrah grapes, the rose is launching just in
time for its summer target, said sales manager Wassim Abi Raad. Adyar’s
vinos suggest Thai food or a basket of fresh strawberries as perfect
pairings with L’Aube.
If there was one new wine that crowned the four-day show, it was
Chateau Qanafar’s yet-to-be-bottled Qanafar 2011, said visiting
sommelier Paul Op ten Berg. Op ten Berg, from the Netherlands Gild of
Sommeliers, was part of HORECA’s foreign delegation of wine writers.
He said it was the most interesting thing he’d tried on his trip –
and that’s after tasting every Lebanese wine on display at HORECA and
many more that weren’t.
Qanafar’s founder George Naim
explained the Qanafar 2011 was an equal blend of three red grapes:
cabernet, merlot and syrah. The result is a spicy, fruity red with notes
of red currant, prune and red berries. “It’s the most noble wine we
“The complexity is immense.”
Ninety minutes of tarab with Shaar
By: Zalfa Halabi
Date: 04 April 2014
BEIRUT: From behind the red velvet curtains of Metro al-Madina, four musicians emerge to take the stage, resplendent in matching black suits and red bow ties. Stage right sits Ziad Ahmadieh with his oud. Mohammad Nahas positions himself beside him, behind his qanoun. Alongside, violinist Ziad Jaafar
prepares his instrument. Rik (tambourine) in hand, Bahaa Daou takes a
seat stage left. Finally, veteran vocalist Abdel Karim al-Shaar takes
his place at the center, says a warm welcome to his audience and sits
down, just centimeters from the front row of tables.
The music begins.
evening’s program features one single song, “Hayarti Albi Maak” (You
Confused my Heart), a much-loved standard from the songbook of Umm Kulthum – the woman dubbed Star of the East back in the 1960s.
tune of this rapturous 40-minute torch song was composed by Riad
al-Santabli to accompany Ahmad Rami’s lyrics. The version performed by
Shaar and his ensemble is 50 minutes longer than any extant recording of
Umm Kulthum’s original but just as potent.
Like Umm Kulthum,
Shaar studied the art of “Tajwid” (Quranic recitation) as a young man.
The Tripoli-born vocalist is distinguished among his peers for his
mastery of the vocal tradition that features both the tuneful
articulation and ornamentation of Arabic phrasing as well as the mental
and physical stamina needed for long hours of performance.
decades of exposure to the 2.5-minute pop song model, it may be
difficult to conceive of sitting through the concert performance of a
single long-form piece. Yet, at Shaar’s March 20 performance of “Hayarti
Albi Maak,” the audience at Metro al-Madina was transported through a
wide array of emotions, emerging at the other end exhausted yet elated.
and his ensemble are faithful to Umm Kulthum’s version of the song,
though they do repeat a few refrains more frequently, and the rhythm of
the music is slowed to allow for this.
Shaar also introduces some
of his own vocal improvisations – “layali” (from “layl,” night), an
unmetered modal departure from the set lyrics. An hour or so into
“Hayarti Albi Maak,” the audience’s classic music aficionados recognized
the words of another Egyptian tune “Leh ya Binafseg,” (Why are You
Alone) composed by Riad al-Santabli and made famous by vocalist Saleh
Having referenced a line from “Leh ya Binafseg,” Shaar
moves into a “layali” then back to “Hayart albi Maak,” holding his
audience rapt. Later on, he weaves in the chorus of “Ghanili Shway
Shway” (Sing to Me Little by Little) – an Oum Kulthum tune from the
soundtrack of the 1945 film “Salama.”
performance, many audience members confidently sang along. As is often
the case with well-performed tarab music, the sounds emitted by the
performers were punctuated by eruptions of “Ouf!” and “Allah!” from the
The applause at the end was enthusiastic, and Shaar returned for a brief encore – some 30 minutes in length.
Karim al-Shaar will restage “Hayarti Albi Maak” at Metro al-Madina
Saturday evening. Doors Open at 9:30 p.m. For more information, please
see www.metromadina.com or call 01-753-021.
Vintage aesthetic is the star of the party
By: Beckie Strum
Date: 02 April 2014
At Beirut’s annual wedding expo in February, the clustering of
brides-to-be and their families made clear which parts of the feting
enticed them the most: expensive, glittering jewelry displays, travel
agencies selling romantic getaways and the dresses, of course.
so much competition, displays for one of the most essential party
elements slipped into the background without flashy presentations or
luxury price tags: the invitation.
With a mind to change that, Lea
Heshme, a graphic designer turned event planner, has taken the
invitation and placed it at the center of party planning. Whether a
piece of delicately printed tracing paper or block letters on
substantial cardstock, the invitation sets the mood and the guests’
first impressions, she said.
“A wedding starts the moment they
receive the invitations,” said Heshme, who recently launched her
event-designing and paper services company “A Whole Lotta Love.” (Yes,
like the 1979 Led Zeppelin song, she assured.)
a graphic designer, Heshme is inherently detail-focused, and her
concept seeks to unify a wedding experience through subtle paper
products and signage that carry visual continuity in graphics,
typography and colors. Her recommendations include basics like
invitations and decorations down to minute details like buffet labeling
and tags for party favors.
The idea for AWLL started with Heshme’s
own wedding. “I used to design for fun for friends and for me. I used
to do paper gift decorations. Last year I got married, and I decided to
do the whole thing myself,” she told The Daily Star.
do-it-yourself aesthetic comprised pastel signs stuck in cupcakes,
chains of paper decorations over the dance floor and handmade party
favors with colorful confetti. This is the kind of design-oriented
simplicity Hashme wants to infuse into other weddings.
“A lot of decorations are handmade,” she said. “I can adapt to any bride, but she has to be into details.”
concept comes at an opportune moment in the cycle of wedding trends.
The lighthearted weddings that Heshme envisions and which focus on
graphics and handmade or upcycled decorations are part of an
all-encompassing wedding trend planners loosely categorize as vintage.
part of an international trend, brides are leaning toward vintage
themes that incorporate campy elements such as thrift store furniture,
natural elements like bales of hay and raw-looking metals like copper or
bronze, wedding planner Nataly Chreif told The Daily Star in an interview about her company, Desire.
Mabsout, business manager at the wedding dress boutique L’Atelier
Blanc, agreed that the AWLL concept falls in line with popular wedding
themes. Heshme launched AWLL in March at L’Atelier Blanc, which also
aims at a youthful but sophisticated clientele.
Blanc, brides have likewise been interested in understated gowns
harkening back to themes from the 1950s and 1920s – periods that
complement the kind of aesthetic simplicity Heshme is offering, Mabsout
“Vintage is very popular,” Mabsout said. “I don’t know how
it’s revived, but maybe because of [period] movies like the Great
Heshme’s isn’t targeting nuptials only, she said. Her
corporate clientele includes Kitchen Central, a boutique cooking academy
in Gemmayzeh. When she designed a party invitation for the company, she
took direction from its logo, using the same sans-serif typeface and
white-on-black color combo to create a coherent graphic aesthetic.
“The details are what I work on,” Heshme said.
Irtijal: Free improv to revolutionary maqam
By: Jim Quilty
Date: 02 April 2014
“Revolutionary maqam” seems like a contradiction in terms. The
classical music of the Middle East, North Africa and parts of Muslim
Central Asia, maqam signifies stability.
You might imagine that
“revolutionary maqam” refers to those oud-accompanied dirges to
political struggle often heard sung in Palestine, Syria, Egypt or
anyplace else where the word maqam has meaning. In the case of the music
of Nicolas Artuso-Royer, the struggle is less political than artistic.
“Nicolas really is a revolutionary character,” guitarist Sharif Sehnaoui
says. “He studied maqam in Syria and in Turkey and emerged from it
with the theory that, historically, the performance of maqam was much
freer than it is today, that most contemporary musicians aren’t
performing maqam the way it was originally intended.
“So he went
back to the history of maqam before it was institutionalized and emerged
with a sound that’s more authentic while sounding much more modern.”
opinions echo those of musicologists as well as a handful of local
artists. Vocalist Rima Khcheich, for example, has devoted her career to
liberating Arabic classical music from the shackles of convention while
remaining true to maqam’s essential principles.
front the opening concert of Irtijal 14, the 14th edition of the
International Festival for Experimental Music in Lebanon, being staged
Wednesday at the Beirut Art Center.
The Canadian-born oud and violin virtuoso will head an ensemble of local musicians – Omar Dewachi and Jad Saliba (ouds), Paed Conca (clarinet) and Béchir Saadé (nai).
isn’t just a pickup band of freelance musicians. “Nicolas has been here
looking for players. These musicians were chosen because of their
knowledge of the music and open-mindedness,” Sehnaoui says. “Most often
he finds [accompanists] in contemporary circles rather than on the
Co-founded by Sehnaoui and trumpet player and
visual artist Mazen Kerbaj, Irtijal has been an intriguing phenomenon on
the Lebanese art scene. In a country whose festival programs –
particularly the summer’s international music events – are routinely
disrupted by security concerns, Irtijal has persevered through 14
consecutive seasons without a hiccup.
“We got lucky over the
years,” Sehnaoui recalls. “In 2005, we were staged in July [Lebanon’s
former Prime Minister Rafik Hariri was assassinated in February 2005].
But we got tired of being grouped with the summer music festivals, so in
2006, we shifted to the first week in April.”
In July 2006, Israel launched a 34-day war on Lebanon.
is a good place for us – just after Ecrans du Reel, just before BiPod –
other events know this time is ‘ours,’ in a way. Even Meeting Points
postponed their opening by a day so that we wouldn’t clash. Some events
don’t care, of course, but many of us are talking to each other ...
getting into the spirit of cooperation.”
Irtijal has matured. The
inaugural edition in 2000 was a one-day affair, but since 2003, the
event has blossomed to run over 4-6 days. The natural habitat for
Beirut’s sound artists and experimental musicians migrating from various
musical fringes (from indie rock to jazz), the event regularly hosts up
to 30 international performers a year.
The 2014 festival will
host performers from La Voix est Libre (The Throat is Clear) festival.
Since it was founded in 2005, the Paris event has represented itself as
“a haven for [international] dancers, acrobats, actors, poets and
musicians who meet here to sublimate the art of encounter and to
transgress the limits of language.”
Curated by Blaise Merlin, La
Voix’s Beirut shows are part of a regional tour that includes dates in
Cairo and Alexandria. The festival will combine its own program – a
workshop at Ashkal Alwan, for instance – and an Irtijal set with several
other artist collaborations.
“They proposed a program,” Sehnaoui
recalls, “and I made a counterproposal. I’m pretty happy with the
lineup. Merlin’s bringing in artists from his Paris festival who are new
One of the inter-festival collaborations in the
program is “Wormholes & Hoye,” featuring two electric guitarists –
Sehnaoui and Jean-François Pauvros – and two live painters – Kerbaj and
Live painting is a performance technique that
draws on various media. In the most recent phase of his sound work,
Kerbaj has put aside his trumpet to create elaborate liquid art, mixing
fluids of varying colors and densities while an overhead camera observes
and projects the mutable images on screen. The form was most-recently
seen in Beirut during Maqamat Dance Company’s January performances of
“Watadour” (It turns).
“This set is actually my special request,” Sehnaoui smiles. “In fact, Mazen was inspired to do ‘Wormholes’ after watching Vincent Fortemps
perform in Belgium. Later on, Jean-François watched ‘Wormholes’ and
suggested we should perform ‘Hoy’ and ‘Wormholes’ together. For us this
is a bit of a dream come true.”
Irtijal’s programs are always
varied – boasting a range of genres that includes free improvisation,
free jazz, contemporary classical, post-rock, experimental electronic
music and sound art. Sehnaoui feels that the 2014 program is
particularly varied, with the sounds in virtually every concert
different from one another.
The artists mingle local and returning international artists with Beirut premieres.
Tripoli guitar hero Osman Arabi
will feature in a solo gig. The free-improv version of post-punk
rockers Scrambled Eggs will perform with Pauvros, from Hoye. The duet
PRAED will reassemble for a set.
Debuts include Algeria’s Mehdi
Haddab, dubbed “the Jimi Hendrix of the oud,” Egyptian post-rock trio
Telepoetic and Austrian-Italian free jazz ensemble M.A.D. Ending this
year’s edition will be DJ Shackleton, one of three figures credited with
“Actually Shakleton doesn’t really do dubstep
anymore,” Sehnaoui notes. “He’s moved on to a sort of intelligent
electronic music that’s unclassifiable, at least to me.
it’s sound art-based dance music that’s really trance-inducing. His set
is going to move in all these electronic music directions he’s been
“His show caps the big closing night slam,” Sehnaoui says. “It’ll be a long night, a fun night.”
Irtijal 14 opens Wednesday at Beirut Art Center and continues until April 5 at various venues around the city. For more information, see www.irtijal.org
Catering expo features burgers, baristas and bloggers
By: The Daily Star
Date: 01 April 2014
HORECA, Lebanon’s biggest food and beverage trade show, opens Tuesday
afternoon to offer a new menu of events covering trends in the
international and local food industries.
“The first function is to
bring what’s new for the industry players, to discover new ideas to
find new products. This is the major role of HORECA,” said Joumana
Salame, managing director of Hospitality Services, the trade show’s main
Burgers, bloggers and baristas are three new additions
to this week’s program, which is open Tuesday to Friday, from 3-9 p.m.
at the Beirut International Exhibition and Leisure center
culinary heritage remains one of the country’s greatest unifiers and
attractions. This year’s expo has attracted between 30-35 special guests
from abroad, Salame said, a major feat considering the security
One of the major players in the local industry, Hospitality Services
has picked up on some of the big food movements, such as the growth of
gourmet burger outlets. HORECA will host a three-hour battle for the
best burger Friday.
“Burgers are also a trend that are picking
up. ... You have so many new burger places more in the bistro-style that
are coming to the market and it’s interesting to discover new tastes.”
no consensus among the city’s food writers about where to get the best
burger and with new joints popping up every couple of months, the
lighthearted competition should settle – at least for a moment – the
long-running search for the best bite.
annual bartending and cocktail shows, baristas serving up fancy coffee
drinks will show off their tricks in a competition this week.
food bloggers will also come together in a new panel discussion aiming
to highlight their growing voice in the local food and beverage scene.
experts and diplomats are among the new guests this year. Organizers
have invited a panel of international sommeliers and wine writers to
taste and critique Lebanese wines. Delegations from the Dutch and French
embassies have also joined the rows of stands to highlight their own
national culinary heritage.
The show has expanded its
presentations by local chefs to highlight local culinary talent,
including cooks from the Lebanese Army, who will go head-to-head in
HORECA’s competition kitchens.
In response to a global movement
for locally sourced ingredients, the trade show has grown its corner
dedicated to local producers, Salame said. “There’s a clear trend from
trade associations to promote and support local farmers,” she said.
“This is an international movement, and it is coming to Lebanon.”
the past year, Hospitality Services has worked with similar
organizations in the region to launch editions of HORECA around the
Middle East, including in Saudi Arabia and Jordon.
something very special ... to reward innovation and reward creativity,”
Salame said. “We promote Beirut as a capital of taste in the region.”
Billy Karam on memories and model cars
By: Rayane Abou Jaoude
Date: 28 March 2014
MOSBEH, Lebanon: Deep inside the Karam family’s lumberyard lies Nabil
Karam’s treasure trove: a two-floor museum replete with model cars,
airplanes, boats and dioramas of Karam’s rally team as well as
re-enactments of the Lebanese civil war. The collection even extends to
figurines of Tomb Raider’s Lara Croft, Power Rangers and Superman. In
2011, Karam, a professional race car driver better known by his nickname
“Billy,” broke three Guinness World Records with 27,777 model cars and
333 dioramas. Three years on, it’s no surprise cars are still the center
of Karam’s life, but at this moment it’s safety rather than speed that
preoccupies the rally racer.
Sitting down for an interview with
The Daily Star, Karam tells the story of his love of automobiles, model
building and the message he wants to send to young Lebanese.
Q: Did you have a love for model cars and dioramas as a child?
My father, God rest his soul, used to be wood tradesman. He used to
bring me some wood, and I would build boats with the wood. When I was
very young, I used to build big, beautiful boats, and I would collect
cars, and together with my brothers and cousins we formed a small club
and put together all the cars we collected.
Then our house was
robbed during the [Lebanese Civil] War and I was kidnapped, and I
developed a sort of complex [because] everything I built as a child was
stolen. I later found a big boat in the garbage that I had built myself.
I saved it, and I made it into a diorama. With time, I started
collecting again, and I collected the cars I raced in from abroad. I go
around the whole world to look for the cars that I want.
The hobby comes from my older brother, who now collects classic cars. He began racing, and I caught his virus by accident.
Q: You’ve built dioramas of scenes from the Lebanese war. Why include these scenes in your museum?
We don’t discuss these things. Lebanon has gone through years of war,
so I built war dioramas to show the stages of the wars that Lebanon went
We are showing what happened in Lebanon, without taking
sides, to show the new generation what happened, but without
commenting. ... We are not proud of these wars, but is there a Lebanese
who was not affected?
Q: Following your world record achievements, what are your future plans for the museum, and do you aim to break more records?
The museum is a hobby, not a purpose. I am having fun. I don’t have a
lot of free time unfortunately, or else this whole warehouse would have
been a museum. I’m very involved in organizations. ... My family and
children are abroad, so I travel a lot, and I do a lot of rally racing
abroad, since I don’t race in Lebanon anymore. The free time I have here
I spend at the museum.
These records have not been broken by
anyone yet. I now have approximately 400 dioramas, and I exceeded 30,000
model cars. I haven’t counted them honestly.
Q: What is your favorite car?
Of course the car I drove and won with, which is the Porsche. I am the
founder of the first Porsche Club in the Middle East, and I have over
7,000 Porsche model cars.
Q: Why did you stop car racing in Lebanon?
I have been the Lebanese champion eight times; I have nothing left to
prove. ... The cars are now very expensive, and I need to have a lot of
free time in Lebanon. There is now a new generation, all of whom are
very brave and are of course much stronger than we are.
generation likes to take more risks, but I no longer take part in races
that are very dangerous. I no longer have the interest to take risks.
Q: Does the museum have a message for its visitors?
I have a clear message from the museum to the new generation: Put on
the seat belt. Don’t drive fast out of idiocy. And don’t drink and
drive. If we can help save one life with this message, we would have
made a difference.
We all learned from the accidents we made, and
this is the message that I am trying to show, a message of safety
through this museum.
When we drive fast during races, there are
over 300 volunteers following us: the Army, the Internal Security
Forces, the Red Cross, volunteers from the ATCL [Automobile and Touring
Club of Lebanon] and they close regular roads. There is help close by to
prevent something from happening. There is a big difference.
Q: I’ve heard it said that you never want to grow up, is it true?
[Motions to his collection] This is all because I don’t want to grow
up. Because of Lebanon’s worries, one day here is like one year abroad.
So you need to be distracted.
Abou Adel: No-frills grilled meat for 60 years
By: Beckie Strum
Date: 27 March 2014
BEIRUT: From underneath the counter top, Mohammad Khawam pulls out and plates handfuls of pink cabbage from a heavy barrel filled to the brim with pickling brine dyed with beetroot.
the final step in the daily routine to ready his closet-sized sandwich
shop in Al-Khandaq al-Ghamiq. Khawam is the third generation to lead
Abou Adel, which has been a fixture of the now-decrepit neighborhood in
for almost 60 years. Khawam’s grandfather opened the shop in 1955,
when counters specializing in Lebanese street food littered Downtown and
its surrounding neighborhoods before the area became the epicenter of
the country’s 15-year Civil War.
“It’s been in the same place
since my grandfather opened it,” says Khawam, a man of few words, just
like his father, who prepares garlic spread in the back of the shop.
Abou Adel’s no-frills menu is all there in the display cooler: beef,
chicken, lamb’s testicles, brain and kafta.
The cooler is missing
only kibbeh nayyeh, raw minced meat, which Khawam serves every day but
Monday. Beirut’s slaughterhouses take Mondays off, and you can’t serve
day-old raw meat, Khawam explains. A menu hangs above the counter – an
unnecessary fitting considering everything is the same price: LL5,000.
Khawam’s grandfather, the first Abou Adel, came to Beirut from Syria
and settled in Al-Khandaq al-Ghamiq, opening the shop first as a
breakfast joint selling hummus and foul, a fava bean dish. He then
expanded to fish and fries in the afternoons. These days, Abou Adel
comprises two hole-in-the-wall shops, one for breakfast hummus and foul
and the other for grilled meat. The grill shop is usually open for the
afternoon and early evening, closing whenever Khawam sells out.
the ’50s and ’60s Al-Khandaq al-Ghamiq was filled with migrants coming
to Beirut from rural parts of the country, particularly the south.
Khawam’s grandfather and father married women from the southern region
The family history is important if only for the
effect it has had on the lunch menu. Preparing grilled meat requires no
special talent, Khawam says, but his shop also sells frakeh sandwiches
and kibbeh nayyeh with a spicy southern twist. Both meat preparations
include a spice blend called camouneh, which is unique to southern
cooking and consists of bulgur wheat mixed with cumin, hot pepper and a
variety of garden herbs. The shop grows its camouneh blend – mint, green
onion and marjoram – in a large flowerpot on the street.
Abou Adel sits one street over from the Green Line
that bisected warring east and west Beirut in the ’70s and ’80s, and
the neighboring buildings are mostly skeletal remains being torn down
for development projects. The roofless St. George Church
down the street is as dilapidated as some of the county’s Roman ruins
and with the same nostalgic grandeur as weeds grow around ornately
carved stone columns.
The shop endured the Civil War, but not
without tragedy. Proximity to the front line put employees in grave
danger, and Khawam’s grandfather Abou Adel was shot and killed by sniper
“The war was very hard because my father and uncles were
in the Army, so my grandmother had to take over the shop when my
grandfather died,” Khawam said.
Decades later, the view of
Downtown from outside the shop has changed as high rises and designer
brands have taken over since war razed the cinema and souks that made up
the bustling city center. Catering to heavy foot traffic, street food
vendors of the Abou Adel variety were once commonplace, but they’ve
since been replaced with pricey shisha joints and foreign franchises
serving ice cream, coffee and international cuisine.
That’s been a
blessing for the restaurant, Khawam explains. Employees Downtown
comprise most of its delivery business as it’s one of the closest and
cheapest eateries selling basic Lebanese fare.
By noon, the shop
is buzzing with a mixture of family and neighbors eating and chatting
loudly at a makeshift table inside. The owners’ children sit at a
plastic table outside, nibbling on grilled pita stuffed with kafta. With
a laugh, a customer pointed at the young boys: “And there’s the
Basking in the afterglow of Beirut's fireflies
By: Olivia Snaije
Date: 24 March 2014
France: It was Friday night at 10:30 p.m. and a battering rain
assaulted the crowds queued outside the Petit Théâtre du Quartz
The Brestois (Brest
natives) defied the elements for the European debut of “These shoes
are made for walking,” by Lebanese dancer and choreographer Nancy Naous.
The disjointed movement of dancers Dalia Naous (the choreographer’s
sister) and Nadim Bahsoun
– accompanied by Wael Kodeih (aka Rayess Bek) – is a gasping,
suffocating, ripping and discomfiting thing, meant to distill the
present situation in the Arab world.
The audience was captivated.
the end of the show, people cheered and whistled, then crossed the
street to the legendary Vauban concert space to hear DJ Maurice Louca,
who strides at the forefront of Egypt’s experimental music scene.
Naous’ and Louca’s shows were part of “Beyrouth – Les Lucioles,” (Beirut
– the Fireflies), a multidisciplinary program that has been the guest
of honor at Dansfabrik, the contemporary dance festival hosted by the
Quartz cultural center.
The Quartz’s young director Matthieu Banvillet developed a passion for Lebanon
after 2009, when he invited dancer, curator and activist Yalda Younes
to dance in Brest. Traveling to Beirut in 2013, he asked Younes to
curate a program for the festival’s 2014 edition, deliberately choosing
to showcase artists working at the margins of the limelight.
was important to me that [Younes] was politically engaged,” Banvillet
told The Daily Star. “We have a privileged space here and can allow
ourselves to make statements. Yalda was coherent in her choice of
artists, and audiences can follow a clear and rich line of thought.”
said his colleagues were immediately receptive to the idea. “Although
very few have traveled to Lebanon,” he said, “there is a strong
imaginary about the country as well as empathy and a great curiosity.”
are not only Lebanese,” Younes stressed at a packed Q-and-A session,
noting that several of her program’s artists were from elsewhere in the
Middle East. “I do not want to limit us to our nationalities. I do not
want to represent Lebanon. The government does that.”
The point went over well with this public, which has a very strong regional identity.
audience was curious, asking a wide range of questions, but were most
interested in learning how artists work in Lebanon. They were surprised
to hear that there is no state funding for the arts in Lebanon and that
in fact there is a pervasive contempt for those who choose an artistic
“How do your parents react to what you are doing?” asked a
Belgian high school senior, among a group of 18 computer technology
students who spent a weeklong school trip attending Dansfabrik
The question provoked the most laughs, yet a degree of sadness underlay some of the artists’ responses.
the program’s several successful events was the Baladi Dance workshop
led by dancer and activist Alexandre Paulikevitch, which drew twice as
many people as the space allowed.
Three of the Belgian students – Nicolas Denié, Sebastien Loncin and Luis Lopez – all agreed that their participation in Paulikevitch’s workshop was their favorite part of the week.
made us feel at ease and brought out the best in us. ... We learned
that one’s pelvis should move down rather than up. ... We let our
feminine side out. ... He taught us to get to know our own bodies,” they
chimed. “Dance is hard work!”
Paulikevitch will feature in a video the students will complete about their week at the festival.
music and dance performances took the students by surprise as they
assumed anything coming out of an Arab country would be traditional.
“They have a revolutionary side to them,” Lopez observed. “They are
passionate and creative, maybe because no one helps them. They are
amazing. They are warriors.”
Christine Tamburro, a former dancer
who heads the Escabelle Association, which introduces school children to
dance, said it was inspiring to discover artists from the Middle East.
are very happy when people from far away come to us in Brest since we
are a little off the beaten track,” he said. “It’s very interesting to
see the political side of the performances and also to learn about the
difficult work conditions there.”
Dansfabrik ended on a high note
with Paulikevitch’s riveting Saturday evening performance of “Tajwal”
(Wanderings). He followed the show with an improvised Q-and-A session
with his enraptured audience, keen to know more about the messages in
“I had a certain responsibility, because in way
we were going to be telling the audience a story,” Banvillet recalled.
“We wanted to give people an idea of what is being created in Lebanon.
if on the scene we are sometimes confronted by violence – because the
performances are rooted in politics – at the same time there is
gentleness, an impermeability to this environment, which is not stopping
these artists from moving forward. They have a luminous presence.”
For more information about Dansfabrik and “Beyrouth – Les Lucioles,” see www.dansfabrik.com.
Gallery heralds an Art Deco revival in Beirut
By: The Daily Star
Date: 20 March 2014
If you’re walking on Trabaud Street in Ashrafieh, you may stumble
across a sizable new space dedicated to modern art and designer
furniture. ARDECO Gallery – which opened last month – is a venue
focusing on modern European art and design, such as tables, decorative
objects and sculptures. The Art Deco movement emerged in France
after World War I. It combined traditional craft motifs with
industrial materials and was characterized by lavish ornamentation, bold
colors and geometric shapes. Art Deco objects were said to represent
the glamour and beauty of society, along with societal progresses.
Facing the new venue is a smaller one, which opened in 1998, manager Elsie Sikias
explained to The Daily Star. The space is dedicated to bringing 1930s
to 1960s vintage French furniture to Beirut. They also import items from
the renowned Hugues Chevalier and Steiner collections. Most of these
pieces are sourced at French auctions.
The newly opened ARDECO
Gallery has a different focus. The paintings on show “are mainly [by]
artists who lived in the 20th century and who don’t exhibit their works
anymore,” Sikias said. “It is the same thing for our furniture, so we
don’t compete [with] the other galleries.”
Paintings by European
artists adorn the walls with a broad range of genres and techniques.
Bas-reliefs, mixed-media works and fauvist paintings come together to
create a panorama of 19th-century European cultural production. Many of
the artists are relatively unknown, but the gallery provides an
opportunity to discover new names and talents.
“We bring a sample of each [artistic] genre that was popular at that time,” Sikias explained, “to see what attracts people.”
furniture ranges from traditional to modern, with many pieces employing
noble materials such as silver and golden leaf. The gallery’s
collection changes every three to six months.
ARDECO Gallery is located on Trabaud Street, Ashrafieh. For more information, please call 01-338-785.
Tracing Lebanon's history through its hairstyles
By: India Stoughton
Date: 14 March 2014
BEIRUT: Hairstyles might not be the most obvious lens through which
to trace Lebanon’s postindependence history. In her biography of
celebrity coiffure Naïm, however, Carole Corm
manages to place his work in a socio-historical context that renders
the book of interest to those more concerned with history than
hairdressing. Through her account of Naïm’s life, from his birth in Lebanon
in 1941 to his emergence as Lebanon’s undisputed master of haute
coiffure and his subsequent travels around the world, Corm provides a
measure of insight into Lebanon’s turbulent history, from prewar glamour
and lingering French influence to the Civil War’s destruction.
“Naïm: A Brush with History,” the latest release from Darya Press, is
a large coffee table book with as much emphasis on visuals as text.
Divided into 17 chapters – each of which is preceded by a timeline
placing events in Naïm’s life in a broader historical context – the book
is packed with old photographs capturing the hairdresser and his
entourage; models sporting his inventive styles; and old newspaper
clippings recording his escapades.
It also includes a selection of drawings by Naïm himself, simple
sketches capturing a vast range of hairstyles executed through the
In her foreword to the book, Corm writes that, as well as drawing
attention to Naïm’s colorful life story, she hoped to “take another look
at the historical events that have rocked the Middle East and Europe
over the last 50 years, whether it be the Lebanese War or the fall of
the Iron Curtain and to show you this through the eyes of Naïm, who has
often witnessed them firsthand from an unusual and overlooked
In this regard, the book is a mixed success. The opening chapters,
during which Naïm establishes himself in Lebanon and – having become
hairdresser to the stars – achieves a sort of stardom in his own right,
paint a fascinating portrait of prewar Lebanon.
Naïm’s is a quintessential rags-to-riches story. Born to a wealthy
Catholic family two years before Lebanon’s independence, he had a
troubled childhood. He twice attempted suicide, the first time at only 8
years of age, after being sexually assaulted by a “notorious
womanizer,” whose full name is not given but a photograph of whom
appears in the book.
Determined to achieve independence from his gambling-addict father
and absentee mother, Naïm left school at the age of 15, and his uncle
found him work at a salon in Bab Idriss.
From this small salon, the talented hairdresser soon rose to a
position to of prominence at the fashionable Bristol Hotel. Next came a
stint at the St. Georges Hotel, prewar home of the international jet-set
crowd, followed by a prestigious job under the famous French
hairdresser Alexandre Paris at his Beirut salon, the Faubourg Saint-Honoré.
Naïm would eventually take over the salon at the age of 27 after his
services became more sought after than those of his Parisian superior.
Later he launched his own salon, The Beauty Shop, in 1970.
As Naïm’s life story unfolds, Corm provides a glimpse into the world
of Lebanon’s privileged elite in the famously glamorous prewar years.
Details of which hairstyles were in vogue at various times betray
shifting influences dominating Beirut’s elite, whether drawing
inspiration from the blonde locks of Hollywood heartthrobs like Marilyn
Monroe or the chic chignons favored by fashionable Parisians.
During the 1950s, Beirut’s in crowd enjoyed ice skating and hula
hooping at the Bristol Hotel, Corm writes, and feasted on “Russian
Salads,” a light-hearted reminder of the ongoing Cold War.
In the 1960s, the Miss Europe beauty pageant took place at the newly
opened Casino du Liban, while the Phoenicia held the lavish “Bal des
Tetes,” dedicated to outlandish headgear. At an event highlighting
artificial hair, held at Beit Mery’s Al-Bustan Hotel, Naïm made waves
with a model wearing nothing but a white swimsuit, a bridal veil and a
floor-length plait. Another model appeared in a dress made entirely of
“No one cared about things like religion,” Naïm is quoted as saying
during a passage foreshadowing the looming Civil War. “We had too many
parties to think about.”
The hairdresser had by this time achieved celebrity status almost on a
par with his famous customers and was frequently featured in the local
press. He rented a penthouse in Badaro, Corm writes, bought a black
Jaguar and began collecting Oriental antiques.
The extent of Naïm’s fame and fortune reveals the values of high
society in 1960s Beirut. In 1964, Corm notes, local hairdressers became
so enraged by the popularity of French and other international coiffures
– many of whom were setting up salons in Beirut – that “over 1,000
angry hairdressers demonstrated in front of the Faubourg.”
The list of celebrities who frequented Naïm’s salon is extensive. As
well as a global tour with Sabah, who claimed Naïm as her personal
coiffeur, he was patronized by Arab and international stars including
Johnny Hallyday, Anita Ekberg, Jayne Mansfield, Shirley Bassey, Linda
Christian, Jean Seberg, Umm Kulthum, Faten Hamama, Hind Ruston, Algerian
singer Warda, Rene Mouawad and Lebanon’s beloved Fairuz. He also styled the locks of various members of the Jordanian, Saudi and British royal families.
Unfortunately, these encounters remain little more than names in
Corm’s biography, which includes minimal anecdotes or reminiscences
relating to these figures.
What quotes are included from the man himself suggest Naïm was
utterly consumed by his profession. He likens hairdressers to deities,
jokes that seemingly emphasize the frivolity of his profession yet
suggest a measure of egotism.
“Jesus Christ himself didn’t manage to please everyone,” the haute
coiffure once said, “so don’t ask too much from your hairdresser.”
“Even though some act like divas,” he cautioned, “don’t think hairdressers are gods.”
Hairdressing-related aphorisms such as these form the bulk of direct
quotes from the book’s subject. Just as stories about the clients he
worked with are notably absent, reflections on history and personal
relationships are also few and far between.
“Ultimately, I think I was too obsessed with their hair to think
about women romantically,” Naïm is quoted as saying during a passage
detailing his short-lived but widely publicized relationship with
Egyptian actress Zubaida Tharwat.
Originally conceived as a means to record the styles created for
members of the Saudi royal family, who could not be photographed, Naïm’s
drawings emphasize his obsession. The women he captures in his simple,
colorful sketches are often missing features. Noses, eyes and mouths are
frequently omitted, but jewelry and hair are carefully rendered in
It was only once the Civil War broke out in 1975 that Naïm’s
obsessive worldview appears to have shifted. “I realized then that life
wasn’t only about scissors and hairpins,” the hairdresser recalls.
Ironically, it is from this point on that the book loses much of its
historical interest. Corm details Naïm’s flight to Kuwait, followed by
stints in Cairo, Paris, Poland and finally London, where he continues to
live and work today. Lebanon becomes little more than a footnote in
these chapters, which focus on the hairdresser’s business ventures,
punctuated with fleeting references to the devastation in his homeland.
“Naïm: A Brush with History” is beautifully produced, displaying more
attention to detail than the average coffee table book. Although the
book is most likely to appeal to those with an interest in retro
fashion, Corm has managed to put together an entertaining narrative that
may also interest those seeking insight into the vagaries and values of
Lebanon’s prewar elite.
“Naïm: A Brush with History” by Carole Corm is published by Darya Press and is available from selected local bookstores
Zuhair Murad design on yet another Barbie
By: The Daily Star
Date: 11 March 2014
An iconic plastic doll has been one of Lebanese designer Zuhair Murad’s
most high-profile clients over the past year. Murad has dressed another
Barbie, the classic blonde doll, from the brands’ 2014 Gold Label
collection. In November, Murad made news when Barbie released a doll
that paid homage to American singer Jennifer Lopez that featured two miniature versions of red carpet couture designed by Murad.
the past several decades, Barbie has paired with luxury and iconic
fashion designers to make special edition dolls. More recent
collaborators include shoe designer Christian Louboutin, who created a
line of pushpin-sized heels for the doll in 2010, and wedding dress
designer Vera Wang, who sporadically makes tiny versions of her luxury
bridalwear. Zuhair is the first designer from Lebanon to work with the American toy company.
new Barbie, announced just before the toy celebrated its 55th birthday
Thursday, wears a nude silk and tulle gown with black beading from
Murad’s spring-summer 2012 couture collection. Barbie paired the dress
with a simple updo and drop diamond earrings. Targeted for adult
collectors, the doll costs $75 – two zeros shy of lower-end Lebanese
But she’s not the only blonde bombshell to step out in this glittering frock. American actress “Gossip Girl” star Blake Lively wore the dress to the premier of her 2013 film “Savages.” Fashion entertainment news gushed about the strapless gown.
recreates one of his most-celebrated silhouettes exclusively for Barbie
doll,” said a press release from the firm, a brand owned by American
toy giants Mattel. Barbie doesn’t go so far as to acknowledge the star
who made the dress famous.
“The Zuhair Murad Barbie doll wears an exquisite recreation of a Zuhair Murad design seen at a Hollywood premiere.”
A perfect pairing: Massaya's Fireplace serves up Lebanon
By: Elise Knutsen
Date: 07 March 2014
FAQRA, Lebanon: Oenophiles and gourmands will soon have a new a new hearth to gather around: Fireplace Restaurant in Faqra, the brainchild of brothers Sami and Ramzi Ghosn, who own and manage the Massaya winery. Refined yet inviting, the venue is sure to be a hit for those seeking worthy wine and honest cuisine.
Fireplace has a warm, convivial atmosphere befitting its name. At a preopening lunch, families enjoy a hearty lunch while young, cosmopolitan types clink glasses of 2011 Massaya Rouge.
At a fireside buffet, patrons help themselves to a variety of filling, comfort dishes including roasted lamb, sweet potatoes, moghrabieh and grilled eggplant. A strange mélange of '90s R&B and early 2000s pop plays over the speakers.
Staying true to the Massaya legacy, however, wine is the keystone of the experience. A variety of Massaya wines are on hand, expressly paired with the dishes.
"Sometimes people are not very comfortable in a wine environment," Ramzi said. "We noticed that people are more easily approachable through food than through wine."
While many of the restaurant's dishes are not traditionally Lebanese, most have a decided Mediterranean flair: Pomegranates garnish an endive salad while grilled quail is served with freekeh.
All the plates were designed with Lebanese wine in mind.
"The vision is to elaborate on wines from Lebanon," Ramzi said.
"Lebanon, luckily, has a tradition of winemaking. Way before Europe.
"Where is the temple of Bacchus, the god of spirits and wine? It's not in Bordeaux, it's here. It's in Lebanon, not Italy."
The food is based on a traditional Lebanese "winter diet," Ramzi continued. "During the summer, our ancestors used to drink arak, but in the winter they would drink wine."
"We tried to implement Lebanese cuisine that is wine friendly."
While the recipes may derive inspiration from disparate points on the globe, the restaurant, and indeed the entire Massaya operation, is something of an homage to ancient Lebanon.
By featuring dishes designed to bring out the unique flavors of Lebanese wine, Fireplace salutes what Ramzi calls the "huge contribution that the Phoenicians made to the wine culture on the Mediterranean. ... We are here to imitate the Phoenicians, our ancestors."
Even the building, painstakingly built from stones excavated on-site, harkens back to traditional Lebanese dwellings.
Fireplace Restaurant is part of a massive project the brothers have been constructing on a Faqra hillside since 2007.
While Massaya's main vineyards and caves are located in the Bekaa Valley, the Faqra site will soon house a fully operational winery and event space. Chardonnay vines have already been planted outside.
"You'll have here the winery to produce the white wine of Massaya. There will be a professional tasting room, a bakery and [Fireplace], the winter restaurant," Ramzi explained.
Racks of bottles are already aging in newly constructed caves at the Faqra site.
"We're still feeling out the space, and seeing how people flow through it," he said.
There is a decided continuity of message between the new venue and the Massaya ethos as articulated by Sami and Ramzi.
"The idea of Massaya is to spread the image of Lebanon as a food and wine culture," Sami said. "Our vision is to convey an image of a welcoming, tolerating, open-minded, cosmopolitan country."
Inside the restaurant, guests relax around long, tavern-style tables and casual couches in a nearby lounge as they enjoy the fare, chatting with European accents. Green light escapes from a wine-bottle chandelier dangling overhead.
Fireplace Restaurant is still ironing out the wrinkles in its service and presentation ahead of the winery's planned launch on July 5, but it's sure to be a crowd favorite in the future.
Houda Kassatly and the aesthetics of the Lebanese cargo truck
By: Chirine Lahoud
Date: 28 February 2014
It can be a hateful thing, driving behind a cargo truck. These huge
vehicles are so accomplished at blocking the view of the drivers behind
them that they always manage to increase the stress levels of motorists
around them. In Lebanon as much as anyplace else, trucks can also be a source of great surprise.
Many older models of truck can make you wonder about their road
worthiness, yet in Lebanon such vintage vehicles are also often adorned
with paintings – whether figurative drawings, calligraphy or other
symbols – enlivening the irritating, monstrous utility of cargo beds,
bumpers and indiscernible metallic bits.
This is the perspective Lebanese photographer Houda Kassatly
has brought to bear for her latest series, now on show at Alice
Mogabgab Gallery. “Voyage des Mots au gre des Camions” (The Travel of
Words through Lebanon’s Trucks) exhibits Kassatly’s take on the unique
cultural role these trucks play.
Taken between 2006 and 2011, these 50-odd photos depict the colorful
and symbolic representations of Lebanon found on the skins of its
Not content to show the photos alone, Kassatly accompanies her work with the truck ornamentations’ different readings.
Kassatly may be best known for her photos of abandoned architecture
and the profound absence that resides in Lebanon’s obsolescent houses.
Her lens brings these ruined places into sharp definition, highlighting
the integral place they occupy in the county’s cultural heritage.
Although consigned to the past, the beauty of these structures is
resuscitated in her photography.
The same aesthetic can be ascribed to Kassatly’s trucks series. The
scribbles and drawings should be accorded more significance than mere
doodles on a metallic surface. For owner-operators, the designs adorning
their vehicles are a way to appropriate the machines and to give them
Red, yellow and blue make up the vehicles’ principal color palette.
It seems most of the mobile calligraphy embellishing them is created by
artists working in the south of Lebanon and in the Bekaa Valley.
These ornaments can be classified into several types. The first
identifies the driver by writing his name, or a sentence referring to
him. The objective is to demonstrate that the operator’s vehicle is an
extension of his self – indeed men are renowned for their attachment to
Many cargo trucks are embellished with such symbols as the hand of
Fatima, horseshoes or representations of human eyes – all thought to be
effective in warding off bad luck. Eye drawings specifically are assumed
to prevent accidents and defuse negative vibes generally. Such
prophylactics find expression in the cultural production of the country
generally, not merely in that of those who labor in its infrastructure.
Kassatly’s photos also convey the importance of the deity in
conferring protection. Many trucks bear odes seeking divine mercy, or
else offering advice to the motorists behind them, suggesting the driver
be grateful, for instance, in order to secure continuing divine
protection and love.
Many of the trucks depicted in Kassatly’s photographs also attest to
their operators’ Lebanese patriotism. At the bottom of some vehicles,
miniature drawings depict the country, its cedars and residents.
Representations of fountains, bright blue skies and wildlife
demonstrate that these utilitarian vehicles also operate as mobile media
conveying pop cultural ideal types of the home country.
Distinctive as local designs are in their specifics, this approach to
the decoration of working class vehicles is hardly restricted to
Syrian and Iraqi cargo trucks, which once plied Lebanon’s roadways
more frequently than today, are adorned with similar design motifs.
Indeed, when scratching the covers of periodicals devoted to the culture
of the global south, a reader will find this type of pop cultural
expression as far afield as Morocco and Pakistan.
As gallerist Alice Mogabgab suggested, Kassatly’s photographs bring
new meaning to the working vehicles that other motorists often try to
avoid. The photographer’s trucks series expresses the same
sociologically informed perspective as studies of Beirut’s abandoned
architectural heritage. Traditions, her oeuvre suggests, persist.
Houda Kassatly’s “Voyage des Mots au gre des Camions” is on show at Alice Mogabgab Gallery until March 28. For more information, please call 03-210-424.