Former fighters and adversaries become today’s artist and carpenters creating unique design items. Once upon a time, March brought together a group of former fighters and adversaries from Jabal Mohsen and Beb el Tebbeneh in Tripoli, Lebanon. They met on the former demarcation line called “Syria Street” and worked hand in hand to break down the fictional walls of divide. Through their newfound strength and unity, they constructed their own community around innovation, art and creativity, away from the shackles of sectarianism and violence. These youth’s journey has been marked by incredible resilience and inspiring determination. They conceived these carefully crafted design items as a symbol of their power and ability to take ownership over their lives. By adopting their items you are contributing to supporting them and spreading their message of love and acceptance. This is a story of love and war… this is a story of hope and new beginnings…this is a story that is still being written. Carpentry, sewing and tailoring have always been well renowned crafts in Tripoli. They are some of the most famous professions that helped the communities in the area to flourish, develop and become well known for their skills in creating clothing and wood furniture items. The sectarian clashes that took place in Tripoli up until 2014, have negatively affected these industries that has been striving to keep afloat. Combining furniture making, and fashion design with rehabilitation and reintegration: In order to revive these crafts and as part of MARCH’s rehabilitation and reintegration program, Kanyamakan hub, MARCH’s community center in Tripoli, is developing the skills of youth from the formerly warring neighborhoods of Jabal Mohsen and Beb el Tebbeneh through various vocational trainings to teach them to create furniture, accessories and clothing items all the while recounting their stories of love and war. On the job training in furniture making, furniture upcycling, wood painting, calligraphy, hand embroidery, fashion design, sewing, and upholstery are hosted in the hub’s spaces, with the support of talented artists and trainers who mentor the youth and help them develop their skills. Kanyamakan Designs is an opportunity for these youth to create economic sustainability for themselves while reviving their communities through a well appreciated craftsmanship in their neighborhoods. And today they are replacing war, hatred and sectarian divides, with love, innovation, art, and creativity. “I was so happy to have spend two weeks with these young men. They were so dedicated and fascinated by the project. We called it “Sawa” meaning together ” Bram Kerkhofs, Belgium designer “I was excited to learn something new in carpentry especially that Bram introduced new techniques which are rarely found in Lebanon. ” Youth from the program Reviving forgotten furniture: “I left school when I was 8. Then I spent my youth fighting because I was told: the other is an enemy! He is another, don’t trust him. Now I know it was all a lie.” Youth from the program Kanyamakan designs : Untold stories of love and war Kanyamakan designs’ first collection was created in partnership with Nataly Salemeh: After collecting abandoned furniture from Tripoli, the youth were taught to upcycle and refurbish each item under her supervision. 7 different collections were created since then: Calligraphic Harmony, from my Heart to Beirut, Humour my Mood, Into the Wild, Tripoli Chronicles, Values of Life and the Love & War collection. In the designs executed the youth, former enemies and fighters, are crafting their stories of love and war, working together to build a better future for themselves with the opportunities offered by this initiative. “Old objects have a history. They carry with them the imprint and memories of the people who used them. By restoring them we are giving them a new life. A bit like these young people who were also neglected in the past. They also have their story to write or paint. All they need is people to believe in them” Nataly Salameh “This is a story of love and war… This is a story of hope and new beginnings…This is a story that is still being written”
Tag: Art & Culture
HONA BEIRUT: A CULTURE HOT-SPOT IN THE HEART OF BEIRUT
Beirut, the capital of Lebanon, hosts several marginalized communities who lack access to equal and equitable opportunities. This has been the city’s biggest trait for a long time even before the start of the current economic crisis. In addition to the socio-economic inequalities, what characterizes this city is a fissure between the different communities. Most people in Beirut live inside socio-economically and culturally homogenous communities and rarely interact with others from different communities. As such, this has led to a closed mindset towards accepting others from different communal backgrounds. In this regard, MARCH has created a cultural hot-spot that allows youth from different parts of Beirut to join in a common space where they can share experiences and activities. In 2018, the organization launched Hona Beirut, its second cultural café at the intersection of different neighborhoods reflective of the capital’s diversity. The café is now attributed as a few of Beirut’s green public hangout spots. It features a professional recording studio and a modest library. Additionally, it regularly hosts a variety of cultural events such as open mic nights, poetry nights, movie nights etc. designed to bring the community closer together and provide a pedestal for self-expression. As a result, the café has successfully created an unconventional learning network that allows youth to explore their interests and discover new skills. Building bridges at Hona Beirut also takes place through the Football Club where youth from different backgrounds join together on the football field and learn about teamwork, team building and cooperation. Not only being a safe space for youth, Hona Beirut contributes in promoting peacebuilding in the area. At Hona Beirut, youth learn about conflict resolution and negotiation through joining the Debate Club. The Debate Club encourages constructive discussions on several topics that interest them and provides a platform for discussion, negotiation, mediation and conflict resolution techniques. Moreover, Hona Beirut provides an array of free capacity-building workshops and employability workshops to help alleviate the economic disparities and provide vulnerable youth with practical tools that would allow them develop marketable skills and offer them a chance at a better future.
Kahwetna: Where Coffee, Creativity, and Compassion Converge for Change
In the heart of Syria Street in Tripoli, there stands a remarkable landmark and hub known as Kahwetna. What was once a demarcation line, dividing the communities of Jabal Mohsen and Beb Al Tebbaneh, has now transformed into a symbol of unity and hope. Through the power of arts, culture, learning, and community service, Kahwetna has become a meeting ground for the youth, where barriers of sectarianism and division are shattered, and a brighter future is built. After succeeding in bringing together 16 young former-fighters from Beb El Tabbaneh and Jabal Mohsen to tell their story through a theater play called Love and War on the Rooftop, we realized that we needed to make our efforts more sustainable and ensure the continuity of the impact the experience had had. Although these youths had always been neighbors, they knew very little about each other. The only encounters they had shared were tainted by animosity and restricted to a context of war and conflict- often from buildings’ rooftops or opposite sides of the frontline. What they knew of each other was limited to what they had been taught by past generations and the sectarian tensions they had inherited. The Start of Kahwetna: Where Former Fighters become Agents of Change After succeeding in bringing together 16 young former-fighters from Beb El Tabbaneh and Jabal Mohsen to tell their story through a theater play called Love and War on the Rooftop, we realized that we needed to make our efforts more sustainable and ensure the continuity of the impact the experience had had. Although these youths had always been neighbors, they knew very little about each other. The only encounters they had shared were tainted by animosity and restricted to a context of war and conflict- often from buildings’ rooftops or opposite sides of the frontline. What they knew of each other was limited to what they had been taught by past generations and the sectarian tensions they had inherited. Additionally, through our work with these local communities, we realized the significance of providing a counter-narrative to conflict and alienation. We also recognized the importance of creating safe and inclusive public spaces that would give the youth the opportunity to interact in a constructive environment while developing their personal and professional skills. We wanted to offer a setting for reconciliation that encouraged constructive dialogue and allowed them to see past the negative stereotypical perceptions they had of one another. From there came the idea of Kahwetna, a unique cultural café situated on Syria Street, a former demarcation line with a violent past. Kahwetna: Where Sectarianism and Division Are Shattered At Kahwetna, the focus is on empowering young individuals with knowledge and skills that will shape their lives. The hub offers comprehensive training programs, vocational courses, and community service initiatives, providing invaluable opportunities for personal and professional growth. By bridging the gap between education and practical experience, Kahwetna equips the youth with the tools they need to succeed. One of Kahwetna’s key offerings is its educational classes, which cover subjects such as English and Arabic. These classes serve a dual purpose: combating illiteracy within the community and enhancing the employability skills of the participants. By empowering the youth with language proficiency, Kahwetna opens doors to new opportunities and broadens their horizons. In its pursuit of conflict transformation, and with MARCH’s trainings on negotiation and mediation, the hub encourages peaceful resolutions and bridges the gaps between conflicting parties. Notably, the Youth Leader Program at Kahwetna works closely with ex-fighters and ex-convicts, nurturing their leadership skills and inspiring others to join the program. By embracing those who were once on opposing sides, Kahwetna exemplifies the power of forgiveness and second chances. Moreover, Kahwetna emphasizes community service as a means of fostering responsibility and reconciliation. These activities, which are open to both genders, create a sense of unity and shared purpose among the youth. From distributing food parcels to visiting orphanages, the community service initiatives expand MARCH’s reconciliation efforts and encourage the participants to give back to their communities. Together, they are breaking down the barriers that once separated them. The vocational trainings at Kahwetna are truly transformative. The Kan Ya Makan community hub brings former enemies together, working hand in hand to acquire skills in woodworking, wood painting, sewing, fashion design, and embroidery. Through innovation and creation, these young individuals unleash their creativity and unlock their potential. Additionally, the hub’s kitchen focuses on developing the youth’s culinary talents, enabling them to secure employment or even establish their own small businesses. Another remarkable program at Kahwetna is the Love and War Tour. The Love and War Tour is conducted by former fighters and enemies in Jabal Mohsen and Beb Al Tebbeneh where they share their untold stories. The Tour starts with a visit to Kahwetna where they walk through the timeline of Tripoli’s history from a once prosperous flourishing city to a land of battles and resentment. The Tour highlights the stories of once former fighters who have now become agents of change. One of the standout vocational programs at Kahwetna is the Dental Assistance program. Young women and men participate in this program, gaining theoretical and practical knowledge to become dental assistants. Under the guidance of a certified dentist, the dental clinic at Kahwetna now serves the community and their families, with plans to expand its affordable services to more people in the region. By providing essential healthcare services, the hub not only improves oral health but also strengthens the bonds between community members. More than a coffee shop, Kahwetna is a world where art breaks barriers, where creativity thrives, and where differences are celebrated. Within the hub’s vibrant walls, young individuals come together to develop their personal and professional potential. Thanks to the remarkable efforts of MARCH, rehabilitation and reconciliation thrive, enabling both men and women to become the architects of change. Today, the location has become a landmark for tolerance, respect, brotherhood and cooperation that has successfully challenged the cross-generational sectarian narrative that had
Promoting Freedom of Expression: The Challenging Censorship Program
In the year 2020, the Challenging Censorship program was launched by MARCH with a mission to combat censorship practices and promote freedom of expression in Lebanon. The program aims to empower youth in Tripoli and Beirut through capacity building and knowledge-sharing. With some activists leaving the country, the Challenging Censorship program reevaluated its approach from focusing on activists into focusing on grass-root activities and decided to restructure its network to include youth. By empowering young people to be active agents of change, the program aims to foster positive dialogue and reject differences in opinion. Empowering Youth through Workshops and Training: To achieve its objectives, the program organized multidisciplinary interactive workshops on mediation, conflict prevention, team building, and communication skills related to freedom of expression. These workshops aim to equip youth with the necessary tools to engage in constructive conversations, accept diverse opinions, and promote a bottom-up approach to enacting change. Expanding Reach and Achievements: Throughout the years 2020 to 2023, the Challenging Censorship program successfully expanded its network to include youth members mainly from Tripoli. It conducted capacity-building sessions and workshops, aimed at empowering young participants to raise awareness about freedom of expression and censorship in their communities. The program also strengthened its digital presence on social media and the MARCH website, reaching a broader audience. The Power of Dialogue and Acceptance: One of the most profound achievements of the program was the positive impact it had on the participants. One youth member expressed, “I never thought I could have a constructive conversation with someone who disagrees with me. However, after the training, I was eager to listen to someone with different opinions rather than fight them.” This transformation of mindset towards acceptance of differences and valuing freedom of expression showcased the program’s success. In conclusion, the Challenging Censorship program in Lebanon has been making significant strides in promoting freedom of expression and fostering positive dialogue among youth. By empowering young participants with knowledge and skills, the program has contributed to a more tolerant and open society that values the right to express oneself freely while respecting others’ opinions. As it continues to expand its reach and influence, the program stands as a testament to the power of dialogue in breaking down barriers and promoting a culture of acceptance in Lebanon.
THEATER FOR RECONCILIATION: Uniting Communities through Art and Culture
MARCH believes in the transformative power of art and culture as catalysts for positive change. This belief has inspired numerous initiatives such as the Theater for Reconciliation. Launched in 2015 in Tripoli, Lebanon, this groundbreaking program has successfully united and reconciled youth from diverse backgrounds through the medium of theater. By providing a safe and inclusive space for young individuals to share their stories on stage, break down stereotypical barriers, foster understanding, and deconstruct preconceived judgments. This innovative peacebuilding and rehabilitation tool, provides a platform for constructive dialogue and self-expression. Through the safe and inclusive space it creates, it allows participants to process any political, religious or personal grievances they may have and better understand “the other” away from divisive, prejudiced and stereotyped narratives. The Sunni neighborhood of Beb El Tabbaneh and the Alawite neighborhood of Jabal Mohsen had been in a long-standing, cross-generational feud that had fostered animosity and resentment between their respective communities. Their conflict seemed to be rooted in their religious and ideological differences and garnered national attention. The volatility of the area coupled with prejudice and misinformation led to the ostracization of that part of Tripoli. Following the violent clashes that had erupted in 2011 between Jabal Mohsen and Beb El Tabbaneh, MARCH decided to try and reconcile youth from both sides of the frontlines. Love and War on the Rooftop: The Beginning of a Journey: The journey of Theater for Reconciliation began with the production “Love and War on the Rooftop” in Tripoli. The play brought together young people from Jabal Mohsen and Beb el Tebbeneh, two historically divided communities with a long-standing history of conflict. Through this powerful performance, the youth were able to bridge their differences, forging connections that transcended their cultural and social boundaries. The idea was to create a theater play inspired by their war-torn lives and personal experiences and offer them a chance to tell their own story and set their own narrative. Following the ceasefire imposed by the army in 2014, we held auditions to recruit young men that would be willing to share a piece of themselves and their history. The process was extremely challenging but we ultimately managed to convince 16 individuals to take part in the play. The project was experimental, its goal was to encourage constructive dialogue and build bridges away from sectarian divide. We wanted to help the participants see past the stereotypes they had of one another. Although there were some challenging moments, the initiative proved to be quite cathartic. It helped them rediscover their identity and see each other in a different light. Enemies became friends and former fighters became actors. Expanding Horizons: A Growing Movement Following the success of “Love and War on the Rooftop” Theater for Reconciliation expanded its reach to other areas of Lebanon. Initiatives like “Tripoliyat” and “Habib El Kel” in Akkar, as well as “Hona Beirut” and “Cafe b Kaffak” in the capital Beirut, continued to build bridges between communities and inspired open dialogues about unity and diversity. Taarafou: The Latest Triumph: The most recent addition to Theater for Reconciliation is “Taarafou”, a comedy play that brought together 20 young men and women from different communities in Beirut. Written and directed by Yehya Jaber, the play was made possible as it draws inspiration from the real-life experiences of its cast members, creating a performance that celebrates the diversity of Lebanon’s youth. A Message of Unity and Acceptance: Theater for Reconciliation, including its latest production “Taarafou” has played a pivotal role in sparking meaningful conversations around embracing diversity as a source of unity. By providing a platform for young individuals to share their stories and experiences, the program has challenged divisive narratives and fostered a sense of understanding and acceptance among Lebanon’s youth. Lastly, Theater for Reconciliation stands as a beacon of hope in a community once divided by conflict and misunderstanding. Through the power of art and storytelling, this transformative program continues to bridge gaps between communities, proving that unity and acceptance can be achieved through shared experiences and empathy.
ليبانون تابلويد – يحيى جابر في “تعارفوا”: لعبة البكاء والضحك في المأساة
تُعرض على خشبة مسرح دوار الشمس في الطيونة مسرحية “تعارفوا” كتابة وسيناريو واخراج يحيى جابر. الأربعاء ٠٢ فبراير ٢٠٢٢ أنطوان سلامه- تعارفوا عنوان مسرحية يحيى جابر “الكوميدية الطائفية” كتابة وإخراجا في سياق نشاطات جمعية مارتش يقودك العنوان حكما الى سورة الحجرات (آية ١٣) :” يا أيها الناس إنّا خلقناكم من ذكر وأنثى وجعلناكم شعوبا وقبائل لتعارفوا…” يقارب يحيى جابر عنوان مسرحيته من زاوية أخرى في سياق بحثه الدائم في الهويات اللبنانية. .”يمسرح” بحثه على خشبة من دون ديكور تغيب المدينة عن خشبته، باستثناء عازفين يجلسون على كراسي بمستويات عدة، وشاب يقدّم برنامجا تلفزيونيا لهواة في فنون عدة أو أوجاع مختلفة. .تغيب المدينة حجرا لتحضر بيروت في تناقضاتها، في الضاحية والخندق العميق والطريق الجديدة والاشرفية يظهر على الخشبة، هواة في التمثيل، حصدتهم جمعية مارتش، من بيئات مهمّشة، لتكسر حواجز الخوف من الآخر فتفتح لهم المستقبل. لا يضيئ يحيى جابر على الهوية الضائعة والمشلّعة في حدّ ذاتها، يقود ممثليه الى داخلهم، يفصلهم عن الإطار ويتوغل معهم في الذات والآخر، في برنامج احتفاليّ، يستند الى التعبير عن الجراح التي فيهم. يقارب يحيى الصراعات اللبنانية ويغوص أكثر في تداعيات الفقر والنمو العائلي والصدمة في مدرسة أو شارع. تكمن مهارته في حواره مع هؤلاء الشباب المهمّشين، لينتزع منهم اعترافات خاصة حوّلها الى حبكة مسرحية جذابة. كتب نصّه انطلاقا من تجارب شبابية، فجاء حقيقيا الى درجة يختلط فيها المسرح مع “حيوات” حصلت بالفعل. من تابع مسرح يحيى جابر، يلاحظ أنّ في نصه والسيناريو الذي صاغه في “تعارفوا” يخرج عن سياقه من دون أن يبتعد. حافظ على اتقانه فنّ السخرية في اللحظة الجديّة. تتمثّل شاعريته في التعبيرعن وجع ممثليه، لم يكتب نصا شعريا، غاص في بلورة نص دراماتيكي مأهول بسكان من لحم ودم وجراح. برع في استخدام ” المونولوج” المشهور في صياغته، فأعطاه بُعدا جديدا تمثّل في الحديث علنا مع الذات ومع الآخر المُختلف في جلسة عامة أو برنامج تلفزيوني. حافظ أكثر على صفته صحافيا استقصائيا يبحث دوما عن الفضيحة التي تكشفها صراعات الهويات الضائعة في الهوية الشخصية واللبنانية، وهذا امتياز له في مسرحه ال “بيروتي” المتفرّد بصفة عالمية، في تطرقه الى الهواجس. بيروت في “تعارفوا” هي الأساس بما تضمه من هويات وجنسيات ضائعة في مآسي لبنان وفلسطين وسوريا. ما أضافه يحيى جابر في مسرحيته الجديدة، أنّه اقتبس حواراته من نماذج بشرية حيّة نراها تعرض مآسيها على الخشبة. أخرج المأساة الفردية من دهاليزها، ومن تهميشها، لتتدفق على الخشبة حركة وتعبيرا ،فيضحك الجمهور لينكفئ الى ذاته بعد كل قهقهة، يتذكّر أنّ ما يشاهده ويتفاعل معه، ليس مسرحا، هو الواقع الملتصق بالحقيقة المؤلمة. نجح يحيى جابر في فصل المسرح عن الحياة، دمجهما في “تعارفوا” الى حدّ التلاحم المتماسك. لم يصدّق الجمهور أنّ من على الخشبة هو ممثل، أقنعه يحيى جابر بأنّه انسان مجروح ومصلوب ومفتت، ومطعون في صميمه. كسر محرّمات وهو الذي يجيد الهزل في الجدّ. حطّم الوقار والرصانة في لعبته المسرحية التي تغطي انحرافه في السخرية السوداء بالتساوي، عرض على المسرح أوجاع الرجل والمرأة والمثلية اختارغناء الراب “المرذول شرقا” لتصدح أصوات غنيّة وفتيّة أبرز مهارات الشباب في الرقص الملتوي، حين نشر سود أميركا كمنبوذين، هذا النوع من الرقص المجنون للتعبير الجسدي عن ذواتهم في الشارع المفت شخصيات الطريق الجديدة والضاحية والخندق العميق طغت أبرز من خارج المألوف صورة الدرزي الذي لا مكان له في الطوائف، خندقه في أقلوية دمجها في نهاية المسرحية مع أقلية مسيحية في رمزية الانعزال في مقابل الأكثرية ولحظة تطرق الى عنصرية “البشرة الغامقة” ارتفعت مسرحيته الى مستويات الجرأة الجارحة جدا مقدّما لوحة رائعة من التنمّر الذي يشكل محورا ثابتا وخفيّا في النص الذي كتبه لم يتردّد يحيى جابر، في إخراجه وادارته الممثلين، في المحافظة على شخصية كل شاب وافق على التمثيل حتى ولو لم يكن موهوبا لم يهتم بالموهبة بل بقدرة هذا الشاب على أن يتخطى ذاته على الخشبة عارضا جراحه أمام جمهور ضحك كثيرا وبكى ربما بكى من كثرة الضحك وربما ما عرضه يحيى جابر تعاونا مع ليا بارودي (منسّقة عامة لجمعية مارتش)يُبكي كثيرا *جاء في كراسة المسرحية:ماذا يحدث عندما ١٨ شابا وشابة، من مناطق وخلفيات مختلفة في بيروت وضواحيها يلتقون ليتعارفوا ويمثلوا لأول مرة على خشبة المسرح؟ استخدمت عملية فنية فريدة من نوعها في كتابة سيناريو المسرحية، وقد استوحيت من حياة وقصص وتجارب ١٨ شابا وشابة ٦٠ دقيقة مليئة بالمواجهات الشيقة وحس الفكاهة والمواقف المضحكة والتوتر، والمزيد حيث يعالج الشباب مواضيع مهمة،من أنا؟ شو بتعرف عن الآخر، وكم هوية بالهوية اللبنانية؟ ويجيبون عن القضايا المثيرة للجدل في لبنان اليوم ألا وهي: الخوف من الآخر والمفاهيم الخاطئة والتنمّر والعزلة والعنف
‘TAARAFOU’, LE THÉÂTRE POUR LA RÉCONCILIATION Scènes
27/01/2022|Léa Samara MARCH, une ONG libanaise qui œuvre pour le renforcement de la cohésion sociale au sein de certaines des zones de tensions au Liban a lancé en octobre 2021 la 5e édition de son programme « Théâtre pour la réconciliation ». Face à la polarisation et aux frictions croissantes, l’association a vu la nécessité de rassembler des jeunes de différents milieux et quartiers de Beyrouth et de ses banlieues. A l’occasion de la représentation de la pièce « Taarafou » au théâtre Tournesol à Beyrouth début février, Léa Baroudi a répondu à nos questions. En quoi consiste l’initiative « Taarafou » ? « Taarafou » est une pièce de théâtre écrite et dirigée par Yehia Jaber, dans le but de désamorcer les tensions et de cultiver un sentiment d’acceptation parmi les participants. Conçu à l’aide d’un processus créatif unique, le scénario a été inspiré par les vies, les histoires et les expériences de 18 jeunes femmes et hommes. Ainsi, la pièce aborde des sujets importants, notamment liés à la recherche d’identité et à la diversité. Le résultat : 60 minutes de confrontations intéressantes, d’humour, de dialogues pertinents, de rencontres amusantes, de tension. En outre, les jeunes abordent un grand nombre de questions controversées dans le Liban d’aujourd’hui, à savoir la peur de l’autre, les préjugés, l’intimidation, l’aliénation et la violence. Comment se sont déroulées l’élaboration et la mise en place de la pièce ? La distribution a entrepris des répétitions intensives qui se sont étalées sur une période d’un mois, au cours de laquelle les acteurs ont pu explorer différentes thématiques intimement liées à leur compréhension de leur propre identité individuelle. Essentiellement, l’objectif de « Taarafou » est de répondre à des problématiques identitaires cruciales telles que : “Qui suis-je ?” “Qu’est-ce qui fait ce que je suis ?”, “Que sais-je vraiment de l’autre ? “En quoi sommes-nous différents ?”. Néanmoins, la question la plus importante que la pièce aborde est justement : “En quoi sommes-nous semblables ?”. Bien que les jeunes sélectionnés n’aient jamais suivi de formation professionnelle d’acteur, ils ont néanmoins été capables – avec le soutien de Yehia Jaber – de s’épanouir en devenant de puissants interprètes, de prendre la scène d’assaut et de transformer collectivement leur douleur et leur chagrin en un merveilleux spectacle. Comment cette initiative s’inscrit-elle dans la ligne d’action générale de MARCH ? La mission de MARCH est centrée sur une approche innovante et multidisciplinaire de la consolidation de la paix et de la résolution des conflits, qui se concentre sur l’engagement des jeunes vulnérables et socio économiquement marginalisés. Le “théâtre pour la réconciliation” est l’un des divers outils de résolution de conflit réussis que MARCH a mis en œuvre au fil des ans. Il a été initialement mis en œuvre à Tripoli en 2015 avec Love and War on the Rooftop, suivi par Tripoliyat, Habib El Kel au Akkar ainsi que Hona Beirut et Café Bi Kaffak dans la capitale. Cet outil innovant de consolidation de la paix et de réhabilitation offre une plateforme pour l’expression de soi et un dialogue constructif. Grâce à l’espace sûr et inclusif qu’il crée, il permet aux participants de traiter tous les griefs politiques, religieux ou personnels qu’ils peuvent avoir et de mieux comprendre “l’autre” loin des récits divisés et stéréotypés. L’objectif de cette initiative est donc de réintroduire cet “autre” à travers un prisme plus positif, et ainsi de renforcer la résilience des jeunes hommes et femmes en leur donnant les moyens de devenir des agents du changement.
« Taarafou » de Yehya Jaber : quand 18 jeunes Libanais redécouvrent sur scène ce qui les lie
À l’affiche du théâtre Tournesol ce soir et demain soir, une « comédie qui démine les tensions communautaires » produite par l’ONG March et interprétée par des jeunes issus de divers quartiers antagonistes de la capitale, qui racontent leurs propres vécus. « L’OLJ » les a rencontrés. OLJ / Zéna ZALZAL , le 01 février 2022 à 00h00 « Chez nous, on nous disait : méfie-toi du druze, il est très nerveux et éloigne-toi du chrétien, c’est un buveur d’alcool. Cette expérience scénique m’a fait réaliser à quel point tout cela est cliché. Aujourd’hui, j’ai de nouveaux amis qui ne sont pas de ma confession et avec qui je m’entends parfaitement », confie Mohammad, un sunnite de 21 ans originaire de Tarik el-Jdidé. Idem pour Élias, 23 ans. « Je suis le seul chrétien de la bande. Et je m’y sens aussi à l’aise qu’un poisson dans l’eau », claironne ce frais diplômé de l’Université libanaise en gestion et conservation des ressources naturelles, qui a grandi à Naameh dans « un environnement où chrétiens et musulmans ne frayaient pas ensemble ». Ils se prénomment Dana, Taline, Sahar, Bilal, Élias-Patrick, Ibrahim, Hamzah, Omar, Ahmad, Mohammad… Ils ont tous entre 18 et 28 ans. Ils viennent de Tarik el-Jdidé, Bourj el-Brajné, Khandak el-Ghamik, Basta al-Tahta, Chiyah, Tayouné, Ras el-Nabeh ou même de Naameh… Ils ont tous plus ou moins la même dégaine, la même « coolitude » en jeans-survêtements-baskets. Et ils répètent dans une ambiance tout à fait amicale Taarafou (Faites connaissance) de Yehya Jaber, à l’affiche du théâtre Tournesol aujourd’hui mardi 1er et demain mercredi 2 février. Une « comédie communautaire » bâtie autour de leurs affiliations identitaires (souvent) opposées et de leurs confessions (parfois très) intimes…Que se passe-t-il quand 18 jeunes gens et jeunes filles issus de divers quartiers de Beyrouth et sa banlieue, élevés dans le sectarisme, la peur et le rejet de l’autre, se retrouvent pour la première fois sur scène pour interpréter une pièce directement inspirée de leurs propres vécus ? Et bien cela donne un (tout) petit espace de réconciliation nationale. Comme un échantillon de ce que pourrait être le pays du Cèdre, une fois débarrassé de ceux qui y attisent les haines communautaires et dégradent toute tentative de vivre-ensemble. Cet espace commun, l’association March, menée par Léa Baroudi, tente de le construire depuis 2011 à travers diverses actions culturelles, visant à abattre les clivages et à rétablir le lien national. L’ONG qui a réussi notamment à rapprocher, par le biais du théâtre et de l’insertion professionnelle, des ex-jeunes combattants de Bab el-Tebbaneh et Jabal Mohsen, les traditionnels quartiers ennemis de Tripoli, poursuit sa mission partout où les antagonismes se font plus prégnants. L’après-Tayouné C’est ainsi qu’aux lendemains des incidents de Tayouné, March décide de redonner un coup de collier à son programme de renforcement de la cohésion sociale en produisant une nouvelle pièce qui réunirait sur les planches des jeunes en provenance de secteurs en confrontation de la capitale. À cet effet, la directrice de l’ONG fait à nouveau appel à Yehya Jaber, qui avait signé Houna Beyrouth, une précédente pièce dans le même registre. Le fameux dramaturge, auteur et journaliste, qui a beaucoup abordé dans son répertoire les tensions des quartiers et des communautés beyrouthines, est la personne la mieux qualifiée pour rassembler dans un théâtre de réconciliation des jeunes gens et jeunes femmes issus d’environnements opposés. Passé maître dans le déminage sur scène des conflits communautaires, l’homme à l’allure débonnaire sait écouter et guider avec une bienveillance toute paternelle ses 18 jeunes comédiens non professionnels sélectionnés sur la soixantaine de candidats au casting de Taarafou. Lire aussiYehia Jaber, comme une boîte de chocolats ouverte « L’objectif principal de ce travail théâtral étant le retissage d’un lien national commun, il fallait avant tout déconstruire les a priori en privilégiant une approche psychologique d’ouverture aux autres. Et pour mieux connaître l’autre, il faut d’abord se connaître soi-même. Qui suis-je ? Qu’est-ce qui a fait que je sois devenu tel que je suis ? Que sais-je réellement sur l’autre ? En quoi sommes-nous différents les uns des autres ? Et surtout qu’est-ce qui nous rapproche ? J’ai amené mes comédiens à se poser ces questions. Et à partir de leurs réponses, franches et sincères, j’ai tissé le canevas de cette pièce de 60 minutes, où chacun raconte sa propre histoire, son vrai vécu », indique le metteur en scène. Confessions, acceptation et catharsis Taarafou sera ainsi le mot d’ordre de Jaber au cours des six semaines de répétitions quasi quotidiennes qui se déroulent au centre culturel Hona Beirut-Café B Kaffak de l’association March à Beyrouth (à l’intersection Ghobeiry et Chiyah). Et le leitmotiv qui transformera cette première expérience des planches en une véritable catharsis pour ces 18 jeunes. Dès lors, Dana, 22 ans, « future chanteuse, chiite et communiste », confiera sans ambages son attirance pour « les chrétiens, leurs fêtes et leurs traditions ». Hamza, étudiant en journalisme de 19 ans, habitant de Ras el-Nabeh, laissera filtrer entre les lignes son orientation sexuelle tue jusque-là. Tandis que Bilal, 25 ans, chiite de Bourj el-Brajneh, ex-joueur de football au sein du club Nejmeh, reconverti en entraîneur pour cause de problème aux genoux, parlera pour sa part de son rêve de carrière avorté. Il évoquera aussi ses deux ans de scolarité invivables aux Makassed et sa meilleure intégration au sein de l’école publique de Karm el-Zeitoun. Et Omar Haidar, 19 ans, qui porte « un prénom sunnite et un nom de famille chiite », dira que sa double affiliation est une grâce. « Je décline soit mon nom, soit mon prénom en fonction du quartier ou de la région où je me trouve », confie, le regard malicieux, celui qui vient de s’enrôler dans la Défense civile…Rapprocher et unir à travers une culture commune une génération éclatée autant par les crises que par les discours des dirigeants. C’est aussi cela la fonction du théâtre. Et c’est ce qui en fait un lieu où le lien social se noue spontanément entre des jeunes qui partagent tous le même rêve d’une vie décente, d’un avenir assuré, de tolérance et d’acceptation de l’autre, quelles que soient
Testimony: Meet Mostafa Latesh
“I used to think of weapons, now I think of brushes and paint rollers.” Mostafa Latesh Mustafa is a stateless former fighter who had been incarcerated for taking part in the clashes between Jabal Mohsen and Beb El Tebbeneh in Tripoli . After joining March’s rehabilitation program, Mustafa left his dark past behind, becoming a painter and taking on professional jobs in which he can explore his talent and find stability for himself. This is his story…
How This Lebanese Entrepreneur Is Promoting Deradicalization Through Culture, Art And Construction
Melissa Jun RowleyForbesWomenCEO & Founder, Warrior Love Productions, Creator, @BorderBreakers.tv Activist, entrepreneur and certified professional mediator, Lea Baroudi, was raised in what she refers to as a “very non-sectarian household.” In Lebanon, a country still recovering from the aftermath of the Lebanese Civil War, which lasted from 1975 to 1990, and ruled by a political system based on sectarian representation, this is not only rare, it may be precisely what gave Lea the foundation to start the NGO, March Lebanon in 2012. Facilitating peace-building and conflict resolution through art, design, and most recently construction and furniture making, March Lebanon’s deep relationships with local communities give the organization a first-hand look at the layers of extremism. “I think the Civil War has contributed to increasingly segregating people across regions,” says Lea. “During the war and afterwards, people started clustering in confessional areas more than before. When you cluster yourself to protect yourself you think the other who is further from you is different and out to get you because you don’t know him.” Reintegration, Rehabilitation & Rebuilding Over the years, neighborhoods in different parts of Lebanon have frequently fought their own civil wars. In the early days of March Lebanon, Lea led a theater production designed to reconcile two Lebanese militia groups that had been fighting in Tripoli, a Lebanese city south of the Syrian border. “After working with them on a comedy play inspired by their own lives I realized that the root cause of extremism, violence, and sectarian conflict in Lebanon is not really ideologically based,” says Lea. “It’s really extreme negligence, poverty, marginalization, and the lack of hope for a better future that makes young people extremely vulnerable and easily manipulated. So I thought to myself, ‘You know what, why don’t I start by trying to provide an alternative to all of that?’” From there, she and her team at March Lebanon opened cultural cafes in Lebanon’s capital city, Beirut, and Tripoli, providing spaces for youth from opposite sides to unite. They began a reintegration and rehabilitation program bringing together former fighters and prisoners of sectarian wars, and teaching them construction skills, language and math. As Lea says, many of these young men and women didn’t have access to a proper education when they were growing up.
