In a small, soundproof rehearsal room in the mountains just outside Beirut, Lebanon’s first all-female metal band, Slave to Sirens, is getting ready to make some noise. Shery Bechara and Lilas Mayassi, the five-piece’s lead and rhythm guitarists, respectively, unzip cases to reveal their V-shaped axes, and vocalist Maya Khairallah warms up with a practice growl, the raw sound ripping out of her small frame with startling volume. Bassist Alma Doumani is tuning up her instrument while drummer Tatyana Boughaba shakes her thick, waist-length hair out of the way, adjusts her leather jacket and gives her sticks a twirl.
This story was originally published by Al Jazeera.
December 30, 2015
Beirut – In the early hours of the morning, Lebanese artist Jad El Khoury, who goes by the name Potato Nose, entered the carcass of Beirut’s abandoned Holiday Inn through the military base that now occupies the ground floor.
He climbed the 26 flights of narrow service stairs, then descended down the side of the building on ropes. Over the course of the next two hours, he painted a series of cartoonish, blue-and-white creatures on the building’s facade, composing them around the bullet holes and craters caused decades ago by shelling.
When Beirut residents awoke to discover Khoury’s artwork last month, they responded passionately, with many expressing anger at his alteration of the landmark building.
“It was really surprising,” Khoury, 27, told Al Jazeera. “But I understand that many people will see it like I am doodling over history, which is not the case. I opened up a debate that was already there – should we fix all the scars of the war, or should we keep them?” Continue reading →
It has all the makings of a fairy tale: something beautiful, fragile and irreplaceable, saved from destruction by a painter with a vision. Earlier this year, the crumbling edifice of La Maison Rose, perhaps Beirut’s most iconic Ottoman villa, was brought to international attention after British painter Tom Young held an exhibition there, opening it up to the public for the first time in its nearly 150-year history. The overwhelming response helped convince the new owner, a property developer, to restore the mansion and turn it into a museum.
The story stimulated debate about the status of Lebanon’s vanishing architectural heritage. But La Maison Rose is simply the latest in a line of historical houses that have found new leases of life as cultural spaces.
BEIRUT: Archaeological museums are a bit like buses, it seems. You wait ages and then two come along at once. At the Venice Architecture Biennale this summer are plans for an archeological museum, designed by Lebanese firm GM Architects. The curator, Rem Koolhaas, invited the firm to present a project on the theme of “Fundamentals,” for his exhibition “Time Space Existence,” now up at Venice’s Palazzo Bembo.
“I had the option of showing one of my [existing] projects or trying to think out of the box and create something from scratch,” GM founder Galal Mahmoud told The Daily Star. “We thought, ‘We’re not going to show a hotel in the biennale. It’s ridiculous. Let’s be architects and try and think of something that’s beneficial to Lebanon.’” Continue reading →
BEIRUT: Mohammad says he’s 13, but it’s hard to believe him. With his tiny, hunched form, cavernous cheeks and emaciated limbs, he looks closer to 8 or 9 years old.
Having fled Syria without his family, Mohammad works as a shoe-shiner on the streets of Hamra, beginning at 7 a.m. every day and working until 7 p.m. At the end of his 12-hour shift he will have earned a total of LL 5,000 – just over $3.
As the influx of Syrian refugees into Lebanon continues and the economic situation in the country declines, the number of child laborers is increasing.
Thousands of Syrian children are working to support their families, while the country’s declining economy has also had an effect on Lebanese and Palestinian children, who are increasingly expected to work. Continue reading →