logo
Saida prepares for the 6th edition of its summer festival

Saida prepares for the 6th edition of its summer festival

The city of Saida is getting ready to organize the 6th edition of its summer tourist festival, which will take place from Aug. 6 to 9, reported L'Orient-Le Jour's correspondent in the region.
Construction work has started on the quay at the old port of the city and along the ramparts of the Saida Castle, in preparation for the performances scheduled by the National Committee of Saida International Festivals.
This festival, launched in 2016 and generally featuring a series of events spread out over time, was stopped for several years due to the economic crisis, COVID-19 and the war between Hezbollah and Israel, with only one edition held in 2023, during which Lebanese-Armenian pianist and composer Guy Manoukian performed.
The program for this edition includes:
August 6: A musical evening entitled "Rajini belhan jadid," in partnership with the National Higher Conservatory of Music Orchestra, conducted by composer Hiba Kawas, under the baton of maestro André Haj, with the participation of singer Ghassan Saliba.
August 7: Concert by superstar Nancy Ajram, making her second appearance at the Saida festival.
August 8: Instrumental evening with the group Ayyam al-Lira.
August 9: Closing with a concert by the great musician Marcel Khalifeh, whose song "Ya Bahrieh Heila Heila" has become an anthem engraved in the collective memory and among generations of activists.
A few days before the opening, the committee chairwoman, Nadine Kaain, and her members were overseeing preparations at the site on the quay of the old port, in coordination with the port administration.
The work includes cleaning the quay (with the NTCC company), removing rocks and machinery (with maritime agents Tiriaki, Beshasha and Rano), as well as leveling the ground (with the Denesh company), the organizers said. The next steps will include installing the stage and bleachers, which can accommodate more than 2,000 spectators each night.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

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

time11 hours 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.

Like Rana Hatem Slim, choose happiness
Like Rana Hatem Slim, choose happiness

L'Orient-Le Jour

time16 hours ago

  • L'Orient-Le Jour

Like Rana Hatem Slim, choose happiness

It was after the tragedy of Aug. 4, 2020, that Rana Hatem Slim began to paint. "The desire to start came to me suddenly. No doubt, to externalize the excess of emotion in which the double explosion at the port had left me," she told L'Orient-Le Jour. Armed with her paintbrush and tubes of acrylic paint, she began by throwing onto canvas everything that spontaneously crosses her mind. The first works were dark, reflecting her mood and her vision of a devastated city. But the young woman did not want to confine herself to despair. She decided to "choose happiness nonetheless. To look for magic everywhere," she said. Armed with a palette of bright, sunny, and luminous colors, she then plunged into an artistic practice that prioritizes positive emotions. In channeling her feelings this way, Slim not only does good for herself, but also seeks to establish a connection with others. "I am happy when, upon discovering my paintings, some people tell me they find resonances with what they are living or going through," stated the artist, who was displaying a dozen acrylics at Gemspace, a shop-gallery on Gouraud Street exclusively dedicated to promoting the works of Lebanese artists. After participating, over the past few years, in group exhibitions "in Barcelona, Paris, Milan, and Singapore," this emerging artist — who also heads a digital communication agency — is presenting for the first time in Lebanon her works, from which emerge, as if from a vaporous field of colors, flowers, butterflies, and a thousand suns. *Gemspace, Gemmayzeh, Gouraud Street, until August 20.

Lubnan Baalbaki: To honor Ziad Rahbani is also to honor yourself
Lubnan Baalbaki: To honor Ziad Rahbani is also to honor yourself

L'Orient-Le Jour

timea day ago

  • L'Orient-Le Jour

Lubnan Baalbaki: To honor Ziad Rahbani is also to honor yourself

At every concert led by Lubnan Baalbaki, a subtle exhilaration takes hold. His ethereal harmonies transport audiences into a dreamlike realm, beyond time. Whether performing alongside Arab music icons such as Majida el-Roumi or his sister Soumaya, or evoking the grandeur of classical compositions, Baalbaki's distinctive approach — expressive conducting, refined arrangements and immersive staging — transforms entertainment into a spiritual experience, as he told L'Orient-Le by Lubnan and Soumaya Baalbaki are known for their emotional resonance, intimacy and strong Arab identity. Whether during the 2022 'Arabian Nights' concert at the Baalbeck Festival or the 2025 Al-Bustan Festival's 'Lebanon in Melody' program, their performances revisit beloved songs celebrating Lebanon. This summer, the duo presents Légendes sous les...

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