logo
'Ziad changed the way I see things': Singer Salma al-Musfi

'Ziad changed the way I see things': Singer Salma al-Musfi

As Lebanon mourns the loss of Ziad Rahbani, who passed away on Saturday morning at age 69, Lebanese singer Salma al-Musfi shares with L'Orient-Le Jour her first encounter with the Lebanese artistic genius.
The album 'Monodose,' fruit of a 'real collaboration'
The two artists met for the first time in 1986. At the time, Musfi, who was 18 years old, was performing in a concert, covering songs by the American artist Madonna. "Ziad came to listen to me at that concert and, apparently, my voice interested him," she says, reached by telephone from Paris.
"A few months later, he called me, and that's when we started working together," she adds, crediting Madonna for their meeting and collaboration.
"I was living in France, but I often returned to Lebanon," Musfi recalls. "During one of these trips, Ziad suggested making a CD, telling me that we would do it 'for us, just for fun,' and it was in that spirit that 'Monodose' came to life," she continues. "It was a wonderful experience, a true collaboration, and I am proud of it," the artist adds.
During Ziad Rahbani's last tour in Europe, the two artists performed together twice: once in Paris at the New Morning jazz club and again in London.
'Collaborating with Ziad changed the way I see things'
"Collaborating with Ziad changed the way I see things," the Lebanese artist confides. "We grow up with certain ideas in mind, ready-made visions… But Ziad opens new perspectives," she continues. "All those years spent with him left a deep impression on me," adds Musfi.
"He accomplished a great deal and, above all, did so with accuracy. He deeply touched entire generations and continues to do so today. There are young people, aged 16 or 18, who listen to him and are moved by his songs, while people in their 90s still listen to him. Ziad crosses generations; he speaks to all ages."
Recalling Ziad Rahbani's "unique" way of putting words together, the Lebanese artist concludes by addressing him with a message: "Farewell, Ziad, you are no longer here, but you will always remain among us. We are saying goodbye to an iconic figure, for all of Lebanon, which is in mourning today, but also for the entire Arab world, which grew up with his voice, his words, his ideas."
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Photo exhibition at Batroun old port
Photo exhibition at Batroun old port

L'Orient-Le Jour

timea day ago

  • L'Orient-Le Jour

Photo exhibition at Batroun old port

The Batroun International Festival Committee inaugurated on Saturday a photo exhibition, simply titled Batroun Photo Exhibition, installed on the pier of the city's old fishing port, according to a statement relayed by our northern Lebanon correspondent. "For the third consecutive year, we are organizing this photography festival, which is divided into two phases. The first is a competition bringing together 300 participants, with 150 photos selected by the jury now exhibited along the pier. The second phase will feature Lebanese and foreign professional photographers who will showcase their works in the streets and the old souk of Batroun, thus turning the city into an open-air gallery," explained the committee president during the inauguration. The Maronite bishop of Batroun, Mgr Mounir Khairallah, North Governor Imane Rafei, Batroun district chief Roger Toubia, and the municipality president, Marcelino Harek, were present.

Remembering Ziad, Saint Levant's contradictions and Disorder at Metropolis
Remembering Ziad, Saint Levant's contradictions and Disorder at Metropolis

L'Orient-Le Jour

timea day ago

  • L'Orient-Le Jour

Remembering Ziad, Saint Levant's contradictions and Disorder at Metropolis

Often, our cultural stories offer a sense of escape from the weight of the news and light relief from the misery of the doomscroll. But the truth is, art is almost always political. This week, Lebanon's cultural and political stories converged heartbreakingly as the country mourned the passing of the inimitable Ziad Rahbani. The week has been intense in many ways, the news, the grief, the heat and the overwhelming plethora of cultural happenings taking place. As you decompress this weekend here are some politically charged cultural reads to put you in a reflective mood and help you take stock of it all. Enjoy. The son of musical royalty, Ziad was never just 'the son.' He was a provocateur, a playwright, a jazzman and a truth-teller. Joe Macaron lays out his complex intellectual identity and explains why his loss is so devastating on a national level. He's Gen Z's pop heartthrob with catchy tunes, dreamy looks and a political edge that seemingly adds to the appeal. But how sincere is Saint Levant's activism? After 3,000 people turned out for his much-hyped show in Batroun last weekend, Rana Najjar digs a little deeper behind the sea of kuffiyehs, watermelon and red pepper motifs. The latest of Jim Quilty's exhibition reviews is as thoughtful as ever; this time around, he's been to Vartan Avakian's show at Marfa' Projects. It is an interesting concept, where treasure maps and gold artefacts are used to trace the narrative of the Armenian genocide. Read his thoughts on the installation here. It seems like another trip to Metropolis is in order — one of my favorite spots to disappear in of late. This time, I've been compelled by Zena Zalal's endorsement of 'Disorder' as 'essential viewing.' It's an anthology — made with the support of Philippe Jabre and the expert input of Nadine Labaki — of four short films that respond to Lebanon's crisis through different personal lenses. Read up before booking your tickets. Finally, if you're looking for more ways to fill your weekend, be it in Beirut or Abu Dhabi, Doha or Amman, Marguerita runs through her top cultural picks from the MYM Agenda. Sign up to get her weekly round-up via email here.

With 'The Widows,' Alfred Tarazi casts light on the repressed and launches Blue Rose space
With 'The Widows,' Alfred Tarazi casts light on the repressed and launches Blue Rose space

L'Orient-Le Jour

time2 days ago

  • L'Orient-Le Jour

With 'The Widows,' Alfred Tarazi casts light on the repressed and launches Blue Rose space

The place is tiny, about 30 square meters with a mezzanine. It sits on the west side of Shehadeh Street, which climbs up from Tabaris, across from the Wine Bar that is struggling to regain its loyal following of yesteryear. Besides, the owner of this former depot, Walid Ataya, is delighted to see the street buzzing with life again and gives his full support to the project being developed there. Caroline Tarazi sees far beyond the three walls of this modest space. She just launched, under the rock-inspired name "Blue Rose," a cultural platform open to all artistic disciplines. Her goal was to foster the emergence of new talent in collaboration with established artists. And it was with an exhibition by multidisciplinary artist Alfred Tarazi — her ally, as one would say of cousins, and also her first "resident" — that she launched this adventure with a bang. In junkyards, the gold of dreams Alfred traces, among ruins and waste, the ruptures and romances of the Arab world. For 20 years, he has obsessively collected the materials for his works — rare archives that become the vocabulary of his artistic language. Beyond his cylinder boxes that unfurl digitized collages of old newspaper clippings and yellowed photos, the artist, born in 1980, digs through the ashes of a collective memory repressed down to the bones of oblivion. The "shadow" he said, in the Jungian sense, appears between history and myth. "A poetic act of historical preservation," he stated, standing before dense works that span video, photography, sculpture, installations, and film. Trained amid the dark backdrop of the Lebanese civil war, Alfred's visual language questions how memory is recorded, manipulated, mythified, or forgotten. His immersive works blur the boundaries between personal memories and national archives, where history and myth collide and where the unresolved past echoes into the present. Where else to find a city's spillages and little secrets if not in junkyards? Alfred haunts the one in Sabra, where, between compressed cans and used engine filters, he finds the gold of his dreams. The shapes and the words of a grieving city At the entrance of Blue Rose stands the silhouette of what looks like a fortified city. Cylindrical perfume containers, made of perforated aluminum and welded together, rise up like an abandoned city. The exhibition is titled "The Widows." "It's about the mourning of a city," said Alfred. Before crossing into the space where an aluminum sculpture of a Phoenician theater — its plans retraced by Charles Qorm — sits at the end, visitors stop before this mysterious monument, haunted by the absence of life it embodies. It is surrounded by relief panels where side partitions encircle a celestial body shaped from the base of the perfume bottles. The background is corten — a plate of rusted metal; the partitions, also rusted metal, recreate friezes of Lebanese architectural arcades. This scenography hosts small, green-bronze figurines, cast in molds previously used by the Tarazi family in their extensive craftsmanship. Amid this lineup of small temples, in two sizes and various versions, one's eyes are drawn by silver stems leaning in perfect expression of silent pain. "Galvanized copper," said Alfred, explaining that he asked a craftsman to leave these stems in their silver bath between two electrodes for two years, "to see what would happen." The result is surprising: globular, anthropomorphic accumulations sketch bodies in prayer and alien heads — the widows of wounded cities. Each panel is engraved with a line from one of Alfred's poems, which comprises 18 verses: "Motionless moon/ While the city fades/ Widows embrace/ In a landscape in ruins/ Motionless moon/ Where cities once stood/ They mourn/ The absence of man/ Motionless moon/ To remember/ The distant sound of life/ Whispers and screams/ Leaning widows/ Bearing the memory of life/ The madness of construction/ The drunken haze of the living/ The fall of man/ Motionless moon." Tonal violence and innocent cynicism The chromed Phoenician theater, the latest of these magic boxes dear to Alfred, is called "Beirut Zoo," and its theme strikes harshly. Amid the stream of images appears the charismatic leader and president, Bashir Gemayel. He is surrounded by a stampede of zebras and various wild animals. The meaning is one of those nightmares best kept locked away: in 1982, shortly before being elected president, Gemayel promised Ariel Sharon, then Israeli Prime Minister, who was criticizing him for lukewarm cooperation, that he would turn the Palestinian camps of Sabra and Shatila — one into a zoo, the other into a parking lot. There you have it. Some contexts awaken a stranger inside you. At the bottom of the piece, you can unwind a perforated strip depicting fighters. It plays on a music box, in childlike notes, the melody of " Li Beirut" (For Beirut). There is in Alfred's approach a tonal violence, an innocent cynicism that simply calls for catharsis. His drop of water, like a hummingbird, for collective mental health. This rust that sticks to your heart On the mezzanine, a hypnotic video projects a layered animation of the exhibited works. Through collages and lighting, the same tinplate moon rises over the same enlarged arcades, revealing their countless shapes. A dystopia whose light remains ambiguous, evoking a deep melancholy sourced from nowhere else but this hollow moon and these rusted windows, these stems shaped like weeping women, and this rust that sticks to your heart. A powerful and salutary exhibition that marks the start of a promising cultural project, meant for a new generation less anesthetized than the previous ones.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store