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Kuwait Times
28-07-2025
- Entertainment
- Kuwait Times
Ziad Rahbani, revolutionary Lebanese composer and playwright, dies at 69
Renowned Lebanese musician and composer Ziad Rahbani, son of music icon Fairuz and pioneer of Oriental jazz, died on Saturday aged 69 after revolutionizing Lebanese theatre and music. 'On Saturday at 9:00 am, the heart of the great artist and creator Ziad Rahbani stopped beating,' said a statement from the Beirut hospital where he was being treated. He had long suffered from health problems. Tributes poured in for the enfant terrible of Lebanese music -- a musician, composer and theatre producer who made a huge mark on generations of Lebanese with his theatre pieces and songs, which many know by heart. Rebellious and visionary, his work evoked Lebanon's civil war even before it erupted in 1975, later reflecting the eventual conflict itself and the harsh realities of economic crisis. Lebanese artist Ziad Rahbani performs during a concert at al-Manara theatre, in Cairo on November 30, 2018. Lebanese composer Ziad Rahbani is pictured during rehearsals in Cairo for a concert at Al-Manara theatre on November 29, 2018. Lebanese musician and composer Ziad Rahbani performs a concert entitled 'For Gaza' in the southern Lebanese port-city of Sidon on October 9, 2014. Lebanese composer Ziad Rahbani gestures during his concert at Damascus Citadel in the Syrian capital, late July 15, 2009. This picture from the mid-60s shows Lebanese musician Ziad Rahbani playing the piano, the instrument that has shaped most of his compositions since his first ventures in the early 1970s. Rare picture from the early 60s shows Lebanese musician Ziad Rahbani playing music. One of his most famous theatre pieces, the 1980 production 'Film Ameriki Tawil' (The American Motion Picture), was a satirical depiction of Lebanon during the civil war, set in an asylum with characters who represented facets of society. Ziad Rahbani was the son of Arab musical icon Fairuz, who turned 90 last year, and the late Lebanese composer Assi Rahbani who along with his brother Mansour modernized Arab music by blending Western, Russian and Latin American sounds with Eastern rhythms. Already adored by older generations, Fairuz became a youth idol when her son began composing jazz-influenced songs for her, calling it 'Oriental jazz'. While Fairuz transcended Lebanon's deep sectarian divides, her son was fiercely left-wing and secular, and spent his life decrying the divisions that ruined his country. 'I feel like everything has gone. I feel like Lebanon has become empty,' Lebanese actress Carmen Lebbos, his former partner, wrote on X. Lebanese artist Ziad Rahbani performs at the Beiteddine Palace in Lebanon's Chouf moutains, south of the capital Beirut, during the Beiteddine International Art Festival on July 12, 2018. Lebanese musician and actor Ziad Rahbani performs during the shooting of lebanese director Randa Shahal's new film 'Tayara min Waraq' in Bekaa Valley, east of Beirut, 22 October 2001. Lebanese musician Ziad Rahbani (right), son of Fairuz, and Armenian conductor Karen Durgaryan attend a rehearsal on July 25, 2001 at Beiteddine in the Chouf region of Lebanon, two days before the three concerts of Fairuz at the annual festival. Lebanese musician and actor Ziad Rahbani performs during the shooting of lebanese director Randa Shahal's new film 'Tayara min Waraq' in Bekaa Valley, east of Beirut, 22 October 2001. Leading Lebanese composer and actor Ziad Rahbani plays the role of a policeman in one of his musicals in the mid-90s in Beirut. Lebanese composer and playwright Ziad Rahbani performs during the opening of the 55th session of the International Hammamet Festival at the theater of Hammamet on August 02, 2019. Lebanese President Joseph Aoun said in a statement that Rahbani was 'a voice that rebelled against injustice, an honest mirror for the oppressed and marginalised'. Prime Minister Nawaf Salam said that 'Lebanon has lost an exceptional artist and creative, a free voice who stayed faithful to the values of justice and dignity' and who said 'what many don't dare to say'. Culture Minister Ghassan Salame wrote on X that 'we dreaded this day as we knew his health was worsening and that his desire for treatment was dwindling'.--AFP
Gulf Today
28-07-2025
- Entertainment
- Gulf Today
Ziad Rahbani, Lebanese composer and son of iconic singer Fayrouz, dies at 69
Ziad Rahbani, a visionary Lebanese composer, playwright, pianist and political provocateur, died on Saturday, at the age of 69, according to the state-run National News Agency. The death was confirmed by a person close to Rahbani who spoke on condition of anonymity. The cause of death was not immediately clear. Rahbani is survived by his mother, Fayrouz, 90, his sister Reema and brother Hali. Born in 1956 in Antelias, near Beirut, Ziad was the eldest son of legendary Lebanese singer Fayrouz and late composer Assi Rahbani, one half of the famed Rahbani Brothers. From a young age, he showed signs of prodigious talent, composing his first musical work at just 17 years old. Raised among artistic royalty, his world was steeped in music, theater, and political consciousness - a combination that would define his life's work. This picture from the mid-60s shows Ziad Rahbani playing the piano in the early 1970s. AFP His mother, who was considered to be the most famous and esteemed performer in the Arab world, performed some of his compositions at her concerts, blending Lebanese folklore with Western syncopation and phrasing. Lebanon's President Joseph Aoun said Rahbani was "not just an artist, but a complete intellectual and cultural phenomenon.' In a statement, Aoun praised Rahbani as "a living conscience, a rebellious voice against injustice, and an honest mirror reflecting the suffering and marginalized.' He highlighted how Rahbani's fusion of classical, jazz and Oriental music "opened new windows for Lebanese cultural expression' and elevated it to global levels. "Ziad was a natural extension of the Rahbani family, which gave Lebanon much beauty and dignity,' the president added. Lebanese pop star Elissa, writing on X, said: "Ziad_Rahbani was not an ordinary artist ... With his loss today, Lebanon has lost a part of itself and a big piece of its collective memory.' Parliament Speaker Nabih Berri sent his "deepest condolences to the great Fairouz, to the Rahbani family, and to all Lebanese on the loss of the brilliant artist Ziad Rahbani, who embodied the Lebanon we loved.' Minister of Culture Ghassan Salame said: "We will mourn him as we continue to sing his songs that will never die.' Prime Minister Nawaf Salam described Rahbani as "an exceptional and creative artist - a free voice who remained true to the values of justice and dignity.' Ziad Rahbani performs a concert entitled "For Gaza" in the southern Lebanese port-city of Sidon on Oct.9, 2014. AFP While his parents helped construct a golden era of Lebanese musical theater steeped in idealism and nostalgia, Rahbani charged onto the scene with irreverent satire, unflinching political critique and jazz-inflected scores that mirrored the chaos and contradictions of a Lebanon at war with itself. "I admire the music of composers like Charlie Parker, Stan Getz and Dizzy Gillespie,' he once said. "But my music is not Western, it's Lebanese, with a different way of expression.' Rahbani's music reflected the hybrid heritage of Lebanon, which until the civil war erupted in 1975 was a cultural melting pot where East met West. But it was also deeply rooted in the traumatic events of the sectarian strife, the bloody street battles between rival militias and three years of violent Israeli occupation after the 1982 invasion. His breakout play, Nazl Al Sourour (Happiness Hotel), premiered in 1974 when he was only 17 and portrayed a society disfigured by class inequality and repression. The tragicomic narrative follows a group of workers who hijack a restaurant to demand their rights, only to be dismissed by the political elite. With this bold debut, Rahbani revealed his enduring theme: that Lebanese society was fractured not only by war but by entrenched power. A leftist Greek Orthodox, Rahbani also wrote plays and satirical radio shows centered on his violent environment that mock the sectarian divisions of his country. Rahbani's subsequent plays solidified his reputation as the voice of the disenchanted. In Bennesbeh Labokra Chou? (What About Tomorrow?), he plays a jaded bar pianist in post-civil war Beirut who drifts through a surreal landscape of broken dreams, corruption and absurdity. The work features some of Rahbani's most poignant music and biting commentary, including the famous line, "They say tomorrow will be better, but what about today?' More than just a playwright, Rahbani was a composer of staggering range. He infused traditional Arabic melodies with jazz, funk and classical influences, creating a hybrid sound that became instantly recognizable. His live performances were legendary, whether playing piano in smoky clubs in Hamra, one of Beirut's major commercial districts that harbors a multifaceted identity, or orchestrating large-scale productions. His collaborations with Fayrouz, especially during the late 1970s and 1980s, ushered in a darker, more politically charged phase in her career. Songs like Ouverture 83, Bala Wala Chi (Without Anything), and Kifak Inta (How Are You) reflected Ziad's brooding compositions and lyrical introspection. Rahbani came under fire from Arab traditionalists for his pioneering efforts to bridge the gap between Arab and Western culture with music. In recent years, Ziad appeared less in the public eye, yet his influence never waned. Younger generations rediscovered his plays online and sampled his music in protest movements. He continued to compose and write, speaking often of his frustration with Lebanon's political stagnation and decaying public life. Associated Press
Hindustan Times
26-07-2025
- Entertainment
- Hindustan Times
Ziad Rahbani, Lebanese composer and son of icon Fayrouz, dies at 69
Ziad Rahbani, the visionary Lebanese composer, playwright, pianist and political provocateur, died on Saturday, at the age of 69, according to the state-run National News Agency. Lebanese musician and composer Ziad Rahbani performs a concert entitled 'For Gaza' in the southern Lebanese port-city of Sidon.(AFP File) The death was confirmed by a person close to Rahbani who spoke on condition of anonymity. The cause of death was not immediately clear. Born in 1956 in Antelias, near Beirut, Ziad was the eldest son of legendary Lebanese singer Fayrouz and composer Assi Rahbani, one half of the famed Rahbani Brothers. From a young age, he showed signs of prodigious talent, composing his first musical work at just 17 years old. Raised among artistic royalty, his world was steeped in music, theater, and political consciousness — a combination that would define his life's work. His mother performed some of his compositions at her sellout concerts, blending Lebanese folklore with Western syncopation and phrasing. Lebanese President Joseph Aoun mourned Rahbani's passing as a national loss, describing him as 'not just an artist, but a complete intellectual and cultural phenomenon.' In a statement, Aoun praised Rahbani as 'a living conscience, a rebellious voice against injustice, and an honest mirror reflecting the suffering and marginalized.' He highlighted how Rahbani's fusion of classical, jazz and Oriental music 'opened new windows for Lebanese cultural expression' and elevated it to global levels. 'Ziad was a natural extension of the Rahbani family, which gave Lebanon much beauty and dignity,' the president added. While his parents helped construct a golden era of Lebanese musical theater steeped in idealism and nostalgia, Rahbani charged onto the scene with irreverent satire, unflinching political critique and jazz-inflected scores that mirrored the chaos and contradictions of a Lebanon at war with itself. His breakout play, Nazl el-Sourour (Happiness Hotel), premiered in 1974 when he was only 17 and portrayed a society disfigured by class inequality and repression. The tragicomic narrative follows a group of workers who hijack a restaurant to demand their rights, only to be dismissed by the political elite. With this bold debut, Rahbani revealed his enduring theme: that Lebanese society was fractured not only by war but by entrenched power. Rahbani's subsequent plays solidified his reputation as the voice of the disenchanted. In Bennesbeh Labokra Chou? (What About Tomorrow?), he plays a jaded bar pianist in post-civil war Beirut who drifts through a surreal landscape of broken dreams, corruption and absurdity. The work features some of Rahbani's most poignant music and biting commentary, including the famous line, 'They say tomorrow will be better, but what about today?' More than just a playwright, Rahbani was a composer of staggering range. He infused traditional Arabic melodies with jazz, funk and classical influences, creating a hybrid sound that became instantly recognizable. His live performances were legendary, whether playing piano in smoky clubs in Hamra, one of Beirut's major commercial districts that harbors a multifaceted identity, or orchestrating large-scale productions. His collaborations with Fayrouz, especially during the late 1970s and 1980s, ushered in a darker, more politically charged phase in her career. Songs like Ouverture 83, Bala Wala Chi (Without Anything), and Kifak Inta (How Are You) reflected Ziad's brooding compositions and lyrical introspection. Rahbani came under fire from Arab traditionalists for his pioneering efforts to bridge the gap between Arab and Western culture with music.
The Wire
30-05-2025
- Entertainment
- The Wire
The Art of Grief, Violence, Death and a Genocide
Menu हिंदी తెలుగు اردو Home Politics Economy World Security Law Science Society Culture Editor's Pick Opinion Support independent journalism. Donate Now Top Stories The Art of Grief, Violence, Death and a Genocide Pariplab Chakraborty 14 minutes ago Curated by Amit Mukhopadhyay and organised by SAHMAT, 'The Body Called Palestine' is an ongoing exhibition at Jawahar Bhawan, New Delhi. It features digital prints of Palestinian artists' works along with works from artists worldwide in solidarity with the Palestinian people. Sliman Mansour's work at the exhibition 'The Body Called Palestine'. Photo: Pariplab Chakraborty. Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute now 'Here, where the hills slope before the sunset and the chasm of time near gardens whose shades have been cast aside we do what prisoners do we do what the jobless do we sow hope…' – Mahmoud Darwish, A State of Siege, 2002 Palestinian art, by existing, challenges the very foundation of Israeli-settler colonialism. Every occupation tries to destroy the idea of the people they occupy and in order to accomplish that, it inflicts violence on the occupied bodies. It tries to obliterate memories, truths and traces of genocidal violence. But can it omit the idea of the people resisting the occupation and defending their own land? Curated by Amit Mukhopadhyay and organised by SAHMAT, 'The Body Called Palestine' is an ongoing exhibition at Jawahar Bhawan, New Delhi. It features digital prints of Palestinian artists' works along with works from artists worldwide in solidarity with the Palestinian people. Primarily, the exhibition seeks to remember. It is an attempt to challenge our 'monocular vision' of seeing and to engage with a new artistic language that stems from Palestinian artists across fields who are living under and resisting a genocidal regime. 'The Body Called Palestine' showcases works of Palestinian artists and their expressions of living under a never ending system of occupation, ethnic cleansing, everyday violence and utter dehumanisation. It witnesses alienation, loss, grief, and anger. Malak Mattar, a young Palestinian artist, grew up in the Gaza strip witnessing occupation and military siege. She had created a series of monochrome and grayscale drawings and paintings – documenting the genocide in her homeland – during a residency programme. She later combined all of those images into this monumental grayscale painting titled 'No Words… (For Gaza)'. This work explicitly tells the horrors and devastation of occupation and a vicious cycle of displacement and ethnic cleansing of the people of Palestine. While working on this painting she said 'It needs to be completely horrific,' 'otherwise it will not accurately reflect the genocide.' Malak Mattar's 'No Words…(For Gaza)'. Photo: Pariplab Chakraborty. Malak Mattar's art. Photo: Pariplab Chakraborty. Maisara Baroud is a Palestinian artist from Gaza city. As a witness, his works evoke a sense of the unfathomable and the familiar, both. It is like a never-ending blur between the blacks and whites, like a nauseating fever – akin to the experience of a relentless cycle of atrocities. 'He consistently highlights topics such as war, immigration, political prisoners, illegal arrests, and occupation. Baroud's works reflect dramatic and tragic scenes, dominated by grief, death, violence, peace, hope, and freedom. His art mirrors how life is intertwined with a fresh, continuous scent of death that never seems to fade.' the artist's statement reads. Maisara Baroud's 'The Artistic Diary of Maisara Baroud'. Photo: Pariplab Chakraborty. The artworks show resilient acts of recording, embedded in personal and political experiences, ensuring that the grand sweep of historical injustice and the records of deafening silence from those in power are not erased. Digital prints of noted Palestinian artist and art historian Vera Tamari's works are also on display in the exhibition. Vera was only three years old during the first Nakba in 1948. She grew up seeing a perpetual state of occupation, war and violence inflicted upon the Palestinian lives. Her vast body of ceramic, sculpture and installation works intensively talk about seeing the Palestinian reality up front and with its innumerable layers of memories, the undaunting resilience Palestinian identity and its cultural heritage. Vera Tamari's 'Palestinian Women at Work' (ceramic relief). Photo: Pariplab Chakraborty. The exhibition also featured an excerpt of a presentation by Vera Tamari along with the digital prints of her works. Presented originally in a conference titled 'Art and War', organised by the Goethe Institute in Ramallah, in November 2004, it goes like this: Going for a Ride? (Installation, 2002) Cars are powerful icons in our society. Other than being urban household commodities, cars have become a metaphor of daily life. These inanimate objects even carry an emotional significance for most people. Not for me; I never owned a car nor learnt to drive one, but seeing my friend Liza's Volkswagen Beetle as I peeked from behind the shutters of my window one morning made me shudder. That quaint red car in which we often rode, was visibly smashed. It was lying on its hood wheels up, almost like a dead real beetle. In Going for a Ride? those inanimate objects, symbols of well-being, status, and freedom have in an act of vindictive violence, perpetrated by the Israeli military tanks in the 2002 invasion of Ramallah, taken on a new reality. They metamorphosed from once practical objects to become subjects of vengeful voodooism. Do we hurt the Palestinians more by destroying their cherished personal belongings? My idea in making this installation was not to merely to fashion junk as an art form or an anti-gesture as advocated by Nouveau Realiste or Dada artists such as Marcel Duchamp and Cesare in their crashed car compositions. Both artists challenged the conventional notion of art as an aesthetic exercise. I simply wanted to make a statement about how a mundane logical reality becomes totally illogical through the violence of the war machine. It is hard to see my installation of smashed cars as not carrying a political meaning. Seven hundred private and public cars were smashed in the military incursion of Ramallah alone. I wanted to give those cars a voice – an ironic reflection on the unnecessary nature of violence whose authors were the Israeli occupation forces. This act of destruction became like action art disturbing the status quo of matters. The soldiers in this case have become the artist creators. The soldiers the viewers. The soldiers as re-creators. The installation piece kept changing. It had a new energy each time – more violent than the previous one. I was merely the curator. Basma Al Sharif's work. Photo: Pariplab Chakraborty. Basma Alsharif is an artist and filmmaker of Palestine heritage. A series of Basma's six photographs are on display in this exhibition. Her works explore the cyclical political histories and confront the 'legacy of colonisation with satire, doubt and hope'. SAHMAT's continued solidarity with the Palestinian people finds a vivid expression in this exhibition, where, as the curator articulates 'the response to the Palestine question across the world has become a unifying force that creates new solidarities as an antidote to the atomising effects of a military-industrial complex'. 'The Body Called Palestine' aims to remember the history and presence of Israeli settler colonialism and its genocidal military offence as it is. This is valuable at a time when the larger mediascape peddles false narratives without any accountability and often erects a smokescreen of half-truths and lies, that help those in power obfuscate historical facts and cultivate public apathy. Aban Raza, a Delhi-based artist who also co-curated an art exhibition in solidarity with Palestine last year titled 'Fida-e-Filistine' and organised by SAHMAT, says, 'This exhibition is a testament to artists' solidarity from around the world with the Palestinian struggle and our collective resistance, despite all odds and silencing.' Labani Jangi's 'Even after a genocide, the rising moon doesn't burn our eyes'. Photo: Pariplab Chakraborty. This watercolour painting by artist and scholar Labani Jangi from Nadia, West Bengal, explores the difference in her perception of the moon between her childhood and the present, where there's a full scale massacre of Palestinian lives happening in every passing day. 'The moon that once used to bring Eid, festivals or fantastic stories from Naani now stands still – in silence like a representative of those who can afford to dwell in apathy. Those who remain silent even after seeing a genocide in front of their eyes – drenched in the propagandas of fascist regimes,' says Labani. The exhibition is on view until May 31, from 9.30 am to 7 pm at Jawahar Bhawan, New Delhi. Make a contribution to Independent Journalism Related News Why Israel's New Aid Delivery System for Gaza Is Sparking Outrage Concerns Expressed Over Gaza Situation, Modi Government Accused of 'Assisting Genocide' 'This Genocide Implicates Us All': 380 Writers, Organisations Call on Israel to Cease Fire in Gaza Humanitarian Crisis in Gaza: Families Forced to the Shore Amid Escalating Conflict For Your Own Sake, Please Care for Palestine From Colonial Loot to Cultural Genocide at the British Museum What the 'Cauliflower' in BJP Karnataka's X Post Means Judge's Order Frees Indian Scholar Detained in US Over Support for Palestine 'We've Killed So Many Children – It's Hard to Argue with That': Tel Aviv Protesters in Silent Vigil About Us Contact Us Support Us © Copyright. All Rights Reserved.
Khaleej Times
13-04-2025
- Politics
- Khaleej Times
UAE delegation led by Sharjah Deputy Ruler visits Palestinian refugee camp in Jordan
A delegation from the UAE, led by Sharjah Deputy Ruler Sheikh Sultan bin Ahmed Al Qasimi, visited the Marka refugee camp in Jordan where over 70,000 Palestinian refugees are currently living. The delegation highlighted the urgent need for coordinated efforts to address the escalating humanitarian crisis faced by Palestinians, particularly in Gaza, and called for implementing sustainable development projects in health, education, and food security to provide essential life resource. 'The Palestinian people have endured decades of displacement and now face severe humanitarian suffering in Gaza as a result of the ongoing war, which has dismantled their social and institutional structures and deprived them of basic human rights, including access to education and healthcare,' the Sharjah Deputy Ruler said. 'Therefore, our humanitarian efforts must go beyond immediate relief to include sustainable projects that support current and future generations through health and education.' Al Qasimi added that humanitarian work is a religious and moral obligation, and a right of the vulnerable and the needy. Stay up to date with the latest news. Follow KT on WhatsApp Channels. His visit came alongside the the ongoing 'For Gaza' campaign, launched by Sheikha Jawaher bint Mohammed Al Qasimi during Ramadan, to provide comprehensive support for more than 20,000 orphaned children in Gaza. Last month, The Big Heart Foundation (TBHF) announced the launch of the campaign in partnership with Palestine-based Taawon Foundation to provide long-term care and essential services for orphaned children in the city. Food scarcity The delegation comprising representatives from TBHF, government entities, and private sector companies visited a food security project led by the humanitarian organization ANERA, which supports refugees and conflict-affected populations in Palestine, Lebanon, Syria, and Jordan. The initiative empowers refugee communities to produce food through farms and greenhouses, enabling year-round agricultural output. This model aims to strengthen self-reliance among refugees and lessen dependence on external assistance. Food scarcity is regarded as one of the fastest-escalating humanitarian crises, with immediate and profound impacts on communities during periods of conflict, instability, or natural disasters. The programme also included a visit to the Marka Girls' Preparatory School, operated by the United Nations Relief and Works Agency for Palestine Refugees (UNRWA). Sheikh Sultan also met with members of the student parliament from Marka Camp who shared their educational experiences and the challenges they face. He toured classrooms, engaged with teaching staff, and reviewed the school's development plans and the camp's future educational requirements. He also met with representatives of the Tawoon Foundation where they discussed strategies for rapid response to essential needs and plans to provide critical services across key sectors. The Tawoon Board of Directors briefed the group about the Noor program for orphan care, launched in the Gaza Strip, where the number of children orphaned by the war has exceeded 39,000. The delegation also heard a series of recorded and live contributions from program staff based in Gaza and Egypt. The visit concluded with a debriefing session involving the accompanying delegation to review the outcomes and examine best practices in humanitarian work within Jordan's refugee camps. The discussion also addressed how these models could be adapted and applied to support refugees and displaced persons within the occupied Palestinian territories. His Highness underscored the importance of developing humanitarian programs and initiatives that respond effectively to the unprecedented challenges facing the region.
