Independence Day Workshop at the Lycee FrancoLibanais Verdun, Beirut

The APLH is very happy to announce that it conducted a heritage workshop at the Lycee Franco-Libanais Verdun, Beirut on the 17th of November for the Lycee’s “Journée de l’Indépendance” – Pictures and links to be posted next week. A big Thank you to the Lycee’s  administration and to the students for this big opportunity!

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The Rose House: Emergency Room Alert.

 

Two years after British artist Tom Young held his site-specific painting exhibition, ‘At The Rose House’, the building is today in a lamentable state. At the date of the exhibition, the Rose House was already in a shape that needed urgent repairs. Today the pictures, more than words, depict the gravity of the situation.

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Although privately owned by Mr Hisham Jaroudi, the house is left unguarded and anyone can enter its premises. As the pictures show, many fixtures are missing and were probably stolen. Large cracks in the walls have either appeared or got worse.

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While it was structurally possible to live at the Rose House (as demonstrated by Fayza El Khazen who lived in the house until October 2014 whilst Tom Young made his paintings during a sejour of 6 months inside the Rose House), the current state of the building clearly is a dissuasion factor.

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Walking inside the Rose House today, let alone spending a few days there, is technically dangerous. As windows and shutters are left open and broken, the house is being vandalized and gradually deteriorated by the elements.

It’s not hard to imagine seeing a building of national importance left in such a state; the Lebanese government is not exactly in an economic surplus situation, but we cannot understand how can somebody who apparently cares about the property is leaving it to crumble.

The APLH calls on the owner to remember the promise he made on TV, to restore the Rose House, and be an example of civic and cultural responsibility by protecting and preserving this beautiful symbol of old Beirut.

 

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Of Men And Ruins Issue III :: A Compendium :: 2014-2015-2016

This issue of OMR has been long in the making, but it’s finally here, and we hope you enjoy it. The APLH has no deadlines to issue a publication, since it’s an independent entity with benevolent members who provide their work and time for free. we do not know when the next issue will be ready but it’s already in the works. It all depends on our personal schedules and on the good people who decide to help us on the way.

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This Issue III is unlike its predecessors in that it unites articles from the last three years, dealing with local, regional and world heritage in a publication that spans 15o pages in a massive A3 (A2 spread) format.

We couldn’t find sponsors to help us print this 3rd issue, but we want to share it with you anyway, in soft copy format. You can download this new issue here.

Once the file expires, you can request your free download by emailing to info@protect-lebaneseheritage.com.

We would like to thank all those involved in this 3rd installment of OMR, namely the students of the Lebanese University – Arts and Design – Deir el Qamar, for the layout work they gave us as part of their layout/art direction apprenticeship course. As their first major layout project, we tell them Hats Off and THANKS for doing their bit in the documentation of Lebanese heritage. Every new Issue of OMR is better, more refined, more information-packed and more Passionate than its predecessor because we believe that someone somewhere sees meaning in what we’re doing. We’re quite happy with the result ourselves and we hope you agree. Thank you for your interest and happy reading!

APLH

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APLH Handmade Leathercraft

The Association for the Protection of the Lebanese Heritage custom-makes leather items and uses proceeds from their sales to finance itself. 100% made in Lebanon 100% leather.

for your orders: info@protect-lebaneseheritage.com

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The APLH produces Utica: Lebanon’s first modern Mead

The Association for the Protection of the Lebanese Heritage has successfully produced its first limited batch of experimental Mead, which is wine fermented from honey, instead of the conventional grape-fermented wine.

 

Mead is the ancestor of wine and one of the oldest drinks, dubbed the nectar of the gods, its body is provided by honey, which is its main ingredient.

081120164404Made with first grade quality Orange flower honey supplied by L’atelier Du Miel, Utica is a light sweet mead fermented following a traditional recipe. The APLH looks forward to a fruitful collaboration with L’atelier Du Miel, in the production of Mead, a first-of-its-kind endeavor in Lebanon, where honey-fermented wine is unheard of.

utica LR labelThe APLH is set to produce limited quantity batches of Mead and Ale-Mead (beer fermented from honey).

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Tradition v/s Trend

Every once in a while, a group of people agrees on a same set of values, beliefs,
life goals, defensive concerns, lifestyle, etc… a civilization is thus born. To take but one example, the ancient Roman Civilization lasted 700 years (western Roman empire), an impressive lifespan, from its birth, to the start of its decline (which took yet another millenium until the total demise of Western and Eastern parts of the Roman Empire with the fall of Constantinople).

The early Romans of 300BC differ from the Romans of the 3rd century AD, but not so drastically as to be unrecognizable. Freshly founded by aeneas after the fall of Troy, ancient Rome took much from its preceding Hellenic civilization but quickly developed its own identity. This identity, visually evident in Roman garb, military equipment and architecture, evolved and grew as the Romans forged their empire through the centuries. This is tradition in motion. You cannot touch it, but you can see and feel it everywhere, reflected upon the people who wear  and live it.

roman army

As illustrated in this book cover, the same people’s clothing and equipment evolved, but without losing identity. In trends, Identity is not important because trends are all-inclusive, for obvious commercial reasons.

Tradition, contrary to what we’re told in these ‘modern enlightened’ times, is not the dust-buried remnants of a dead past: It moves, it grows, slowly and steadily, with its people, according to their needs. It’s an ongoing empirical experiment, trying things, adopting them when they work, discarding them when they don’t. The growth is there but imperceptible within a single human lifespan. This is perhaps why humans invented trends; to have something that changes several times within one lifetime, and give them the feeling that they are in control. Trends are centered around the individual, while traditions emanate from a functioning community with a defined shared identity. No wonder why in an age and paradigm of excessive individualism, traditions are mocked and
disregarded as ‘out of fashion’ and ‘outdated’.

Traditions were never meant to be a ‘fashion’ anyway. One individual has no control over a tradition and if they did, as maybe an emperor could,  chances are they wouldn’t live to see the results of the changes they made forging and shaping their reformed society. As society grows more atomized, the individual lives as an island of feelings and emotion, operating their fashion trend on their own Instagram page, basking in delusions of changing the world while actually mistaking a banal trend for something far more enduring, timeless and outside their grasp.

Trends and fashion are attempts by us to influence others into adopting a certain way of clothing, behavior, cuisine, or artistic outlook. But because humans get bored, trends and fashions being the man-made devices they are, must change with human emotion, feelings, moods and attitude of the time. The shallowness of trend is evident in its cyclical nature: It always returns back to square one under the name ‘retro’ or ‘vintage’, which are actually no more than camouflaged acknowledging of the relevance of an older lifestyle. No matter how many fashion tendencies we’ll see in the space of a few months, they’ll always come back to ape whatever classical or timeless cultural trait they originally sprung from.

Left: Parisian Gentleman Hugo Jacomet in a classic handmade suit. Right: Progress.

Left: Parisian Gentleman Hugo Jacomet in a classic handmade suit. Right: Progress.

Trends do not require a shared set of values, beliefs, blood bond
or lifestyle to admit a newcomer. They should be taken for the recreational human distractions they have always been, without confusing them with actual traditions, which live longer and will always constitute the benchmark upon which trends spring and die. Oscar Wilde bitingly called fashion an intolerable ugliness, but fashion/trends are actually
a bit more than that.

Because we will never be able within our human lifespan, to experience the birth and maturation of a tradition, we’ve created a substitute, which we can control, depending on how prolific creators we can be. Imitation being a form of flattery, Trends are an imitation of something intangible we humans can feel and see, thanks to artifacts, historical documents and records we inherited from our ancestors. Tradition is something we can only deduce and acknowledge, a tranquil force that shapes us over several centuries, even millennia.

We currently live in Leftist times. Leftism, an ideology that promotes equality, but not before God, is an anti-traditional force imbuing the zeitgeist of the past and current century, but which seeds bloomed in the times of the Enlightenment era and French
Revolution. Since then, trends took center stage and traditions were vilified. Instead of having people creating trends and fashion as a healthy creative expression of the human mind, trends became increasingly marketed as a replacement of actual tradition.
As societies ‘modernized’, individuality slowly mutated into individualism, resulting in today’s atomized societies where tradition and cultural roots are abhorred, and every single individual wants to be a trend setter with his/her horde of social media worshipers.
We’re mini gods/rockstars now and we set the pace in our mini social media group. Or at least we like to think so.

Signs of decline

Signs of decline

Just like Traditions are a reflection of the Eternal, trends are a reflection of the Eternal’s creation. Fluttering expressions of creativeness borne out of an ephemeral individual. Movements taking place within  the much larger timeframe of a tradition. Trends are an unconscious imitation/flattery of Traditions and should never be at odds. When a trend’s purpose is to mock and degrade, it’s a sign of something wrong that needs to be addressed promptly, because next time such frustration or negativity manifests itself, it will no doubt do so through less artistic and more violent means.

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Hypocrisy

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Dear Lebanese citizen, in case you were still wondering why your country has no hope of emerging from its 33rd world cesspool condition, here is why. In 33rd world cesspits, an inscription forbidding littering, actually invites deliberate littering. The culprit is no doubt feeling smart, rebellious and defying, with his heroic littering act. There is no greater proof of a people’s progressiveness and acute sense of evolution, than deliberately covering trees with your own (unsorted) trash. Such respect of nature is only the sign of highly evolved, supra-progressive breeds like Lebanese people. After all, we cant help it because, it’s our leadership’s fault! It’s never our fault or responsibility if we destroy our own lives and the

environment that sustains us and brings us whatever small beauty is still left in our ugly existence. Dear Lebanese citizen; you are ugly. And because you’re ugly, and you know it, you want to destroy that which is beautiful, and you do it deliberately. Then when you’re cornered, you conveniently blame your leaders. Yes, your leaders are bad. Very bad. But have you forgotten who voted for them?

It’s small, banal evils like this everyday vandalizing of nature, which bring about a people’s doom. A small cheating from here, a wasta abuse from there, a trashbag thrown into a pond, a glass bottle left in the forest… After all, it’s just ONE trashbag. And nobody saw me do it! Multiply this 1 small, meaningless evil by 5 million, by 365 days and you have yourself a catastrophe. People are still throwing their garbage unsorted, despite municipal efforts to sort the garbage for recycling. If you want to commit suicide, please do it alone, because the rest of the country is actually trying to abide by the rules. Whining about the

desperate situation in the country? Just do a quick review over your most recent transgressions. That should shut you up for a while. Still reading this article? You wont find a single congratulatory word here, so you might as well start having your precious feelz hurt. Come on, feel alienated and offended. YOU are to blame. You dont like the patronizing tone? Take a look again at the picture. Now grow up and do something about it.

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Binnisbi La Boukra Shou – a APLH special screening

Yes, Ziad Rahbani has finally decided to release Binnisbi La Boukra Shou, in REMASTERED VIDEO. This is akin to the moonlanding, only better. We have M Media to thank for this most welcome initiative.

in the cadre of rehabilitating the historical coastal path of hamat (Batroun), the APLH is aiming to raise funds in collaboration with the Municipality of Hamat.

one of our fundraising events is the special screening of the classic Ziad Rahbani play ‘Binnisbi La Boukra Shou’, In cinemas starting 21 January 2016.

 

ziad rahbani now in cinemasthe APLH Avant premiere/special screening will be JANUARY 20, not 21, as the poster says.
Be many in supporting the rehabilitation of this picturesque and little known hidden treasure of North Lebanon’s coast.

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For more info about donating for the coastal path of Hamat rehabilitation project, or to help, contact APLH: 03797785

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The Palais Chehab MediaBook is Available At…

palais chehab lancement poster III flat

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Le Palais Chehab: Droit de Réponse de l’APPL au “Communiqué de Libnanews”

Suite à la parution de son premier livre :: Le Palais Chehab :: et à toutes les rumeurs qui ont circulé à ce sujet, l’APPL tient à rappeler qu’elle est une association à but non lucratif dont l’objectif est de protéger le patrimoine à travers des actions judiciaires, et de sensibiliser Libanais et non-Libanais au sujet du patrimoine historique et culturel du Liban. Cette sensibilisation se fait par le biais d’articles et de projets culturels (dont le livre :: Le Palais Chehab::) visant à protéger et renforcer la mémoire culturelle et l’identité du peuple Libanais.
:: Le Palais Chehab:: Mediabook, qui a vu le jour grâce au soutien  de son Excellence Madame  l’Ambassadrice d’Espagne et de la Famille Chéhab, est un travail collectif initié par l’APPL. Une équipe a été formée de membres de l’APPL, qui sont tous des bénévoles contrairement à ce qui a été dit sur la page facebook de Libnanews.com, et s’est investie dans la préparation de ce livre, avec des délais à respecter et des meetings périodiques d’évaluation du progrès du travail.
Le Livre ::Le Palais Chehab::, contenu et format, est la propriété intellectuelle et légale de l’APPL, ainsi que tout autre travail fait dans le cadre de l’association (Youtube channel, pages facebook, Blog, Site et Gazette imprimée et en ligne) et toute atteinte au travail collectif de l’APPL de la part de quiconque sur ces propriétés, sera suivie par des poursuites judiciaires.
Sur ce, l’APPL tient à rappeler que cet ouvrage, fruit du travail collectif de ses membres, lui appartient, ainsi que tous les droits qui y sont relatifs et elle se réserve le droit de poursuivre en justice toute personne qui se permettrait de porter atteinte à l’APPL.
Le comité administratif de l’APPL, 8 octobre, 2015.
palais chehab.
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