Will the human, physical and moral elements of the seriously affected artistic circles be able to bounce back after a year 2019-2020 marked by successive tragedies: revolution, COVID-19 and finally an explosion that destroyed half the city of Beirut?
As a vital element of a dynamic society, culture binds a population together. In addition to its intrinsic value, it brings valuable social and economic benefits and is the engine that drives a society forward. The explosion on 4 August at the port of Beirut destroyed half of the capital and its artistic and cultural sites. A capital that had already been bled dry after a revolution and a virus took their toll on it.
Destroyed and Re-Destroyed...
Lebanon has endured multiple invasions over time and despite this has remained standing. What's more, it has taken advantage of this mix of cultures to make it its own. Before 1975, a pivotal date in the history of the country, Lebanon experienced a cultural and artistic boom at all levels. The war of 1975 came and it marked the quasi, if not the total, stop of these activities.
Starting in the 1990s and in the decades that followed, culture regained its rights. Although stability was still precarious, Beirut was entering the 21st century through the front door, once again becoming an international cultural platform. Around the year 2000, galleries (Art Lab, Sfeir-Semler, Tanit, Art on 56th and Marfa' in 2015, or Aïda Cherfan) as well as contemporary artistic venues became the meeting point of a youth freed from the taboos of their elders. Designers and great couturiers followed as well as theatres such as the Gemmayzé theatre, the Black Box by Jacques Maroun ensuring a continuity with the Monnot theatre or Madina theatre in Hamra. The port and its surroundings became the Hamra of the 70s, the hub.
From 17 October 2019, the Aîda Cherfan gallery closed its doors, settling for another space that had long been established in Antelias. The others complained about the economic crisis, but were not ready to give up. On the other hand, regarding the 7th art, the Metropolis association, which hosted arthouse cinema films with its international festivals, also had to cease its activities and close its doors in Sofil. For the duo Mia Habis and Omar Rajeh who had created “Bipod,” an international dance platform and built in 2019 “Citerne Beirut,” in Mar Mikhael, composed of different multipurpose rooms, they had to leave the country, disappointed.
On August 4, 2020, the explosion did in a few moments what the civil war has done in 20 years: destroy the entire cultural scene, physically and morally, or dismantle it. In addition to the loss of human life (architects, gallery owners and others), the exhibition spaces suffered serious losses (venues and canvases). Noha Moharrem, Joumana Asseily, Nayla Kettaneh Künig, Andrée Sfeir-Semler or Antoine Haddad were affected (as was the whole of the devastated population) and then resumed reconstruction or the conception of different projects (outdoor or online exhibitions, thus not abandoning their artists or the country).
…But Still Standing
Collective initiatives have multiplied, to name but a few: #LiBeirut organised in collaboration with the Permanent Delegation of Lebanon to UNESCO, on 17 September, an online debate “ResiliArt Lebanon” under the theme “Museums and art galleries for the return to cultural life in Beirut.” According to the daily L'Orient-le-Jour, “the speakers underlined the central role of Beirut's museums and art galleries as a cultural bridge at the service of Lebanese society and its diaspora, as well as their role in social cohesion, education and development. They highlighted the impact and challenges of this disaster on the Lebanese cultural sector already heavily affected by the economic crisis and the COVID-19 pandemic.” The debate also focused on the damaged museums: a total of six, including the “Sursock Museum.”
Another private initiative has been launched by Art Nub "Beirut Fine Art Heritage Rescue" which works free of charge to restore damaged works. Nayla Yared and Gaby Maamary consequently wish to recover a national heritage in loss. In addition to the financial crisis and the lockdown due to COVID-19, the explosion of 4 August also inflicted considerable damage on many companies in the Lebanese film and audiovisual sector, impacting also filming and post-production services. France's CNC (National Centre of Cinematography and the Moving Image) has launched an emergency fund for Lebanon. The aim of this scheme is to provide exceptional aid to films or feature film projects whose writing, shooting or post-production has been delayed or interrupted since the beginning of August.
Finally, the theatre, could not die with such energy from its human element. It is true that the theatre halls have suffered serious deterioration, but on the mental level, the dynamic is still there. If some people have ceased their artistic activities preferring to devote themselves to the “Thaoura,” others have adapted to physical distancing and have resumed creation... “Hamasat” is an online stage project that is currently raising funds to support damaged theatres. May these initiatives be cloned in all artistic circles in order to put culture back on its feet.