15-Nov-88
In the name of God, the Compassionate, the Merciful
Palestine, the land of the three monotheistic faiths, is where the Palestinian Arab people was born, on which it grew, developed and excelled. Thus the Palestinian Arab people ensured for itself an everlasting union between itself, its land, and its history.
Resolute throughout that history, the Palestinian Arab people forged its national identity, rising even to unimagined levels in its defense, as invasion, the design of others, and the appeal special to Palestine's ancient and luminous place on the eminence where powers and civilizations are joined. All this intervened thereby to deprive the people of its political independence. Yet the undying connection between Palestine and its people secured for the land its character, and for the people its national genius.
Nourished by an unfolding series of civilizations and cultures, inspired by a heritage rich in variety and kind, the Palestinian Arab people added to its stature by consolidating a union between itself and its patrimonial Land. The call went out from Temple, Church, and Mosque that to praise the Creator, to celebrate compassion and peace was indeed the message of Palestine. And in generation after generation, the Palestinian Arab people gave of itself unsparingly in the valiant battle for liberation and homeland. For what has been the unbroken chain of our people's rebellions but the heroic embodiment of our will for national independence. And so the people was sustained in the struggle to stay and to prevail.
When in the course of modern times a new order of values was declared with norms and values fair for all, it was the Palestinian Arab people that had been excluded from the destiny of all other peoples by a hostile array of local and foreign powers. Yet again had unaided justice been revealed as insufficient to drive the world's history along its preferred course.
And it was the Palestinian people, already wounded in its body, that was submitted to yet another type of occupation over which floated that falsehood that "Palestine was a land without people." This notion was foisted upon some in the world, whereas in Article 22 of the Covenant of the League of Nations (1919) and in the Treaty of Lausanne (1923), the community of nations had recognized that all the Arab territories, including Palestine, of the formerly Ottoman provinces, were to have granted to them their freedom as provisionally independent nations.
Despite the historical injustice inflicted on the Palestinian Arab people resulting in their dispersion and depriving them of their right to self-determination, following upon U.N. General Assembly Resolution 181 (1947), which partitioned Palestine into two states, one Arab, one Jewish, yet it is this Resolution that still provides those conditions of international legitimacy that ensure the right of the Palestinian Arab people to sovereignty.
By stages, the occupation of Palestine and parts of other Arab territories by Israeli forces, the willed dispossession and expulsion from their ancestral homes of the majority of Palestine's civilian inhabitants, was achieved by organized terror; those Palestinians who remained, as a vestige subjugated in its homeland, were persecuted and forced to endure the destruction of their national life.
Thus were principles of international legitimacy violated. Thus were the Charter of the United Nations and its Resolutions disfigured, for they had recognized the Palestinian Arab people's national rights, including the right of Return, the right to independence, the right to sovereignty over territory and homeland.
In Palestine and on its perimeters, in exile distant and near, the Palestinian Arab people never faltered and never abandoned its conviction in its rights of Return and independence. Occupation, massacres and dispersion achieved no gain in the unabated Palestinian consciousness of self and political identity, as Palestinians went forward with their destiny, undeterred and unbowed. And from out of the long years of trial in ever-mounting struggle, the Palestinian political identity emerged further consolidated and confirmed. And the collective Palestinian national will forged for itself a political embodiment, the Palestine Liberation Organization, its sole, legitimate representative recognized by the world community as a whole, as well as by related regional and international institutions. Standing on the very rock of conviction in the Palestinian people's inalienable rights, and on the ground of Arab national consensus and of international legitimacy, the PLO led the campaigns of its great people, molded in.
The massive national uprising, the intifada, now intensifying in cumulative scope and power on occupied Palestinian territories, as well as the unflinching resistance of the refugee camps outside the homeland, have elevated awareness of the Palestinian truth and right into still higher realms of comprehension and actuality. Now at last the curtain has been dropped around a whole epoch of prevarication and negation. The intifada has set siege to the mind of official Israel, which has for too long relied exclusively upon myth and terror to deny Palestinian existence altogether. Because of the intifada and its revolutionary irreversible impulse, the history of Palestine has therefore arrived at a decisive juncture.
Whereas the Palestinian people reaffirms most definitively its inalienable rights in the land of its patrimony:
Now by virtue of natural, historical and legal rights, and the sacrifices of successive generations who gave of themselves in defense of the freedom and independence of their homeland;
In pursuance of Resolutions adopted by Arab Summit Conferences and relying on the authority bestowed by international legitimacy as embodied in the Resolutions of the United Nations Organization since 1947;
And in exercise by the Palestinian Arab people of its rights to self-determination, political independence and sovereignty over its territory,
The Palestine National Council, in the name of God, and in the name of the Palestinian Arab people, hereby proclaims the establishment of the State of Palestine on our Palestinian territory with its capital Jerusalem (Al-Quds Ash-Sharif).
The State of Palestine is the state of Palestinians wherever they may be. The state is for them to enjoy in it their collective national and cultural identity, theirs to pursue in it a complete equality of rights. In it will be safeguarded their political and religious convictions and their human dignity by means of a parliamentary democratic system of governance, itself based on freedom of expression and the freedom to form parties. The rights of minorities will duly be respected by the majority, as minorities must abide by decisions of the majority. Governance will be based on principles of social justice, equality and non-discrimination in public rights of men or women, on grounds of race, religion, color or sex, and the aegis of a constitution which ensures the rule of law and an independent judiciary. Thus shall these principles allow no departure from Palestine's age-old spiritual and civilizational heritage of tolerance and religious coexistence.
The State of Palestine is an Arab state, an integral and indivisible part of the Arab nation, at one with that nation in heritage and civilization, with it also in its aspiration for liberation, progress, democracy and unity. The State of Palestine affirms its obligation to abide by the Charter of the League of Arab States, whereby the coordination of the Arab states with each other shall be strengthened. It calls upon Arab compatriots to consolidate and enhance the emein reality of state, to mobilize potential, and to intensify efforts whose goal is to end Israeli occupation.
The State of Palestine proclaims its commitment to the principles and purposes of the United Nations, and to the Universal Declaration of Human Rights. It proclaims its commitment as well to the principles and policies of the Non-Aligned Movement.
It further announces itself to be a peace-loving State, in adherence to the principles of peaceful co-existence. It will join with all states and peoples in order to assure a permanent peace based upon justice and the respect of rights so that humanity's potential for well-being may be assured, an earnest competition for excellence may be maintained, and in which confidence in the future will eliminate fear for those who are just and for whom justice is the only recourse.
In the context of its struggle for peace in the land of Love and Peace, the State of Palestine calls upon the United Nations to bear special responsibility for the Palestinian Arab people and its homeland. It calls upon all peace-and freedom-loving peoples and states to assist it in the attainment of its objectives, to provide it with security, to alleviate the tragedy of its people, and to help it terminate Israel's occupation of the Palestinian territories.
The State of Palestine herewith declares that it believes in the settlement of regional and international disputes by peaceful means, in accordance with the U.N. Charter and resolutions. With prejudice to its natural right to defend its territorial integrity and independence, it therefore rejects the threat or use of force, violence and terrorism against its territorial integrity or political independence, as it also rejects their use against territorial integrity of other states.
Therefore, on this day unlike all others, November 15, 1988, as we stand at the threshold of a new dawn, in all honor and modesty we humbly bow to the sacred spirits of our fallen ones, Palestinian and Arab, by the purity of whose sacrifice for the homeland our sky has been illuminated and our Land given life. Our hearts are lifted up and irradiated by the light emanating from the much blessed intifada, from those who have endured and have fought the fight of the camps, of dispersion, of exile, from those who have borne the standard for freedom, our children, our aged, our youth, our prisoners, detainees and wounded, all those ties to our sacred soil are confirmed in camp, village, and town. We render special tribute to that brave Palestinian Woman, guardian of sustenance and Life, keeper of our people's perennial flame. To the souls of our sainted martyrs, the whole of our Palestinian Arab people that our struggle shall be continued until the occupation ends, and the foundation of our sovereignty and indepe.
Therefore, we call upon our great people to rally to the banner of Palestine, to cherish and defend it, so that it may forever be the symbol of our freedom and dignity in that homeland, which is a homeland for the free, now and always.
In the name of God, the Compassionate, the Merciful:
"Say: 'O God, Master of the Kingdom,
Thou givest the Kingdom to whom Thou wilt,
and seizes the Kingdom from whom Thou wilt,
Thou exalted whom Thou wilt, and Thou
abasest whom Thou wilt; in Thy hand
is the good; Thou are powerful over everything."
محمود درويش
هي الأغنية التي تنسى, دائماً, أن تكبر
هي التي تجعل الصحراء أصغر
وتجعل القمر أكبر كمال عمار
صوتك يجعلني أرفض أشياء كثيرة
أقبل أشياء أكثر
صوتك يا سيدتي الأميرة
في ليلنا قنديل
يجعل قلب العالم يسطع في الظهيرة
يشد إزر عابر السبيل
في الليلة المطيرة
صوتك كالمائدة المستديرة
يضم زرّاعي الحقول والجنود
وصائدي القوارب الصغيرة
صوتك يا سيدتي الأميرة
يبعث في جوانحي أمنية أسيرة
أن أبصر الوجود أبيضاً
معطر السريرة
بولس سلامه
فيروز يا أسطورة الواقع
وآية الروعة في الرائع
يا غبطة الأرواح في سجعة
تنزّلت من عالم شاسع
مجهولة الإيحاء مجهولة الأصداء
لم تُنسَب إلى واقع
جورج إبراهيم الخوري
ما أشهى الحديث عن فيروز... إن اللسان البشري, حتى الصديء منه, يمسي فيروزيّ اللون إذا ما نطق باسم هذه هذه المنشدة المسحورة التي هي أكثر كثيراً من مطربة, وأقل قليلاً من أسطورة... أجل, هي مسحورة... ترينها اليوم, يا زينة, فإذا هي وجه غريب الجمال, تبرز منه عينان سوداوان كبيرتان, عميقتا الغور, حادتا النظر, شديدتا التأثير, على شَعر خرنوبي مسدول, يخفي جزءاً من بشرتها ويظهر جزءاً آخر, وكأن وجه كوكب دريّ يسبح في الفضاء, تدهمه غيمة داكنة في ليلة خريفيّة... هي طيف أكثر مما هي جسد... هي نفسها لم تعد تعرف من هي... ولكننا كلنا نعرف أنها نهاد حداد...
 I regret every time I thought your music was only for our old folks…
I regret every time I liked a song of yours and kept that to myself…
I regret having a past you were not a part of…
I thank you for a future I’ll spend with you…
Fairouz, you make me feel lame I ever thanked anyone for anything before.
Loai Na'amani
"To the Arab world Fairouz came suddenly, as a miracle. At a time when Arabic singing was weighted down with convention and predictability, and spirits were nationally at their lowest, her voice rang, as though from beyond the notes of salvation and joy. Arabic music has never been the same since. Nostalgic but vibrant, sad but defiant, folkloric and yet so new, hers has been for nearly 30 years perhaps the only voice that seems so capable of jubilation in an almost cosmic sense. By turns mystic and amorous, elegiac and fiery, her singing has expressed the whole emotional scale of Arab life with haunting intensity. Often singers give listeners pleasure, as they expect. She often gives them, beyond their expectations, ecstasy."
Jabra I. Jabra
 "The voice of Fairouz embodies love, I include in the word "love": nostalgia, sublimation, remorse, pardon, seduction, innocence, repression, goodness, prayer and desire. Others sang of love more than Fairouz did, but each of her songs intrinsically celebrates love. Her voice inspires internal communication of which no tiny particle is squandered on superficiality. Every time a person falls in love he thinks he is the first to know love. Every time you listen to Fairouz you feel that her voice was just born for you. In my estranged country her voice was my only friend. A lot was said to explain my love for the voice of Fairouz except the truth; the truth is that I sense in it more than a mere magical dimension: sometimes I sense a frightened child in need of help, some other times I see the most beautiful woman: the imaginary woman. That child is our childhood, that woman is our dream. What I failed to find in mankind I found in a voice. The voice of Fairouz is the revenge I take for that big lie we call life."
Ounsi El Hage
 "After years of thirst, a voice like fresh water has arrived. A cloud, a love-letter from another planet: Fairouz has overwhelmed us with ecstasy. Names and figures of speech remain too small to define her. She alone is our agency of goodwill, to which those of us looking for love and poetry belong. When Fairouz sings, mountains and rivers follow her voice, the mosque and the church, the oil-jars and loaves of bread; through her, every one of us is made to blossom, and once we were no more than sand; men drop their weapons and apologize. Upon hearing her voice, it is our childhood which is being molded anew."
Nizar Kabbani
أوردت صحيفة السفير اللبنانيةفي 6-9-2005 الخبر التالي وفد كشفي إسرائيلي في تونس دعا مشاركون أمس في المؤتمر العالمي ال37 للحركة الكشفية، الذي يقام للمرة الأولى في تونس، إلى نشر ثقافة السلم وكسر كل الحواجز الجغرافية والعرقية والدينية بين شعوب العالم لبناء عالم أكثر سلماً وأمناً وتسامحاً. وكانت أعمال المؤتمر قد بدأت أمس الأول، في منتجع الحمامات التونسية جنوبي العاصمة، وهي تستمر حتى التاسع من الشهر الحالي. وهو يعقد لأول مرة في بلد عربي، ويحضره عدد كبير من المسؤولين من نحو 155 دولة بينها إسرائيل . وبحسب المنظمين، فإن عناصر من الحركتين الكشفيتين الإسرائيلية والفلسطينية تشارك في هذا اللقاء الذي يدور حول موضوع إزالة الحواجز ... انتهى الخبر
تـعـليــق
كيف يكون ذلك علماً أن اسرائيل تعتبر أم الحوجز, فقد حولت الشوارع الرئيسية والفرعية في الضفة وغزة الى مجمع حواجز حيث لا يقل عددها بين أي مدينة أو قرية واخرى عن 3 أو 4 حواجز تفتيشية, فالفلسطيني المتنقل بين المدن والقرى يقضي نصف يومه ما بين تفتيش وتوقيف, وكذلك الجدار العازل الذي يدمر الحياة الاقتصادية والاجتماعية, وهي بالتالي تمثل حواجز جغرافية, اجتماعية, عرقية, دينية. أم أن المجتمعين في تونس لم يتناهى الى سمعهم أمرها, أم أنهم يتباحثون في كيفية وضع الخطط التربوية بغية مساعدة الفلسطيني على التأقلم وهكذا وضع ؟
مقال نشرته صحيفة السفير بتاريخ 30-8-2005 اللهم لا شماتة سحر مندور الصورة تبدّل هويتها. إنه الإسرائيلي يُجرّ جراً خارج منزله، إنه الإسرائيلي يقاوم الجيش الإسرائيلي، إنه فعلاً إسرائيلي. تلك ليست صورة شعبي تتكرر للمرة الألف فتؤلمك قسوتها وتتوجس شراً من تتمتها. هي ليست صورة شعبي وقد بات مصدر الوجع الأساسي فيها يأتيك من كثرة تكرارها. تخاف التكرار لكونه يولّد السأم، والسأم يولّد التجاهل، والتجاهل يولّد ظلماً إضافياً بحق من يتلقاه يومياً. لكنه ليس ابن شعبي هذا الذي يغضب في صورة اليوم، هو المستوطن الذي تخشاه أكثر مما تخشى الجيش الإسرائيلي وأكثر مما تخشى أدوات سلطاتك المحلية. تخشاه كثيراً، هذا المستوطن. وتلك هي صورته وهو متنكر في مشهد بقي طويلاً حكراً على ابن بلدي. يخرجونه من منزله، ويشعر بالظلم.. مدلل هذا المستوطن، فهو سيتوجه مباشرة إلى بيت صمم من أجله وإلى فندق سيعتني براحته. بيته لم يهدم فوق رأسه كما يجري مع أبناء بلدي الذين يقفون حائرين بين الحداد على قريب قضى تحت الأنقاض وبين واقع التشرد وقد حطّ رحاله بينهم. سيُنقل المستوطن إلى حيث ينعم برخاء بديل، ويصر على الغضب والغضب واضح في الصورة. ما الذي يغضبه أكثر يا ترى؟ تخليه عن بيت الذكريات أم منحه للفلسطيني أرضاً يشيّد فوقها بيتاً؟ على الأرجح <<بيت للفلسطيني>> هي المعادلة التي لا يقبلها. والدليل على ذلك صور على الشاشات: يحرقون البيت وهم يخلونه. يشعرون بالظلم لكونهم اضطروا إلى رفعه جزئياً عن ضحيتهم. يؤلمهم التخلي الجزئي والمشروط والمرحلي عن دور الجلاد. لا يهم هذا كله الآن، فهي صورة الإسرائيلي بطلاً لمشهد صممه هو على قياس ابن بلدي. اللهم لا شماتة، لكنها صورة مضحكة. هل يصدّق فعلاً أنه مظلوم، هذا المستوطن الثائر؟ هل يشعر بأن أبناءه سيتربون خارج <<أرضهم>>، أن ماضيه سيضحي في مهب الريح، أن حقه الشرعي يسلب منه؟ هل يشعر بأن <<الخيانة>> أتته من الأقربين كالطعنة في ظهر أعزل؟ هل سينظم أغنيات الرفض الإسرائيلي ويلقي أشعاراً تشبه محمود درويش؟ هل سيسأم الدمع؟ هل سيرفض النسيان؟ هل سينتظر العودة خمسين عاماً ومن ثم خمسين عاماً تليها؟ هل سيحتفظ بمفتاح بيته في المستوطنة وهل سيتمسك بصك الأرض؟ هل سيضطر ابنه، وهو طفل، إلى فهم ما الذي يجري حوله؟ هل سينتظر المستوطن <<المظلوم>> أن تشرق شمس صباح يوم غير محدد التاريخ كي ينتفي الظلم عنه؟ يوم كانت تصل صور الحافلات تنفجر لتقتل إسرائيليين مدنيين، كنت ترتبك. كنت تهرول بعيداً عن الصورة لتنصر المقاومة بحجة أنها لا تفعل أكثر من إشعار الظالم بنوعية الظلم الذي يمارسه. ترتاح في حضن هذه الفكرة لكنك ترفض رؤية صورة المدني قتيلاً. أنت غير مصمم جينياً على تقبّل الدماء تسفك، مهما كانت قاسية بحقك هذه الدماء. اليوم، في غزة العربية، الدماء ليست مسفوكة. المشهد نظيف. الإسرائيلي ينتبه على <<الدماء الصديقة>>. فيسمح لك بألا ترتبك. تنظر إلى الصورة، فيخفق قلبك هاتفاً بحياة كل مقاوم انتزع هذا الحق بروحه. تنظر إلى الصورة وتحتضنها ولو مرة، فهي نادراً ما لا تروق هذا الإسرائيلي. إنه بالفعل مشهد تشتاقه العين. مبروكة الأرض على أهل غزة وعلى أهل الوطن ------------------------------------------------------------------------------------------------------- تـعـليــق
لم يكن المطلوب أكثر لم يحلم شارون بأكثر من هذه العبارات , فها هو اعلامنا العربي أبى الا أن يقدم القرابين في يوم التحرير المزعوم , هذه المشاهد التي ازدحمت بها الشاشات العربية قبل الاسرائيلية والغربية , هذه المشاهد التي رفضت صدقاً أن اتابعها على التلفزة , قد وصلتني عبر المقالات الرنانة والتهاني الوقحة أحياناً والبريئة أحياناً أخرى , بهذا الاعلام انتصر الصهيوني وبه هزم العربي .حين نقيم مشاهد المستوطنين الخارجين من المستوطنات الى اخرى بمشاهد اللجوء الفلسطيني , فهذا عيب , حين نقارن ما بين مأساة شعب كامل على مدى 70 عاماً وبين ادعاء المستوطن بالغضب , فهذا عار على شعب عربي يَنصت وشعب فلسطيني يُصدق , لا يهمني ان كان المشاهد شامتاً أو لا , ولكن أن يصدق ما يشاهد فهذا الفخ , أن يتأمل مشهد مستوطن غاضب لتركه بيته ظناً من أنه انتصر عليه فهذا الغباء .الهدف من كل ما شاهدتم هو رسالة ملونه لتظن أن الفلسطيني أخذ حقه من مغتصبيه , وأن القضية بين فلسطيني ومستوطن . لكي تشاهد المستوطن صاحب حق , علماً بأنه مأجور لحكومة اسرائيل ويدها الضاربة . كل مشهد انتزع منكم ابتسامة شامتة أو فرحة أو شاكرة , زاد في استمرار مأساة الفلسطيني اللاجىء والآسير والشهيد والصامد في مكانه , وهذا ما أراده شارون لكي ينزل بالقضية الفلسطينية أسفل السافلين , وقدمه له إعلامنا العربي على شاشة ومقالة من فضة .لا زالت العيون تلتصق بشاشات التلفزة , ولكن فليتذكر الجميع , أنه كلما كبر حجم الشاشة كلما ابتعدت عن المشهد الحقيقي ,وغداً حين تشاهدون الاحتفالات الفلسطينية في غزة لا تصدقوا أنهم فرحون .إعلامنا العربي .. شكراً
فيروز تختتم للعام الثالث على التوالي مهرجانات بيت الدين الدولية
بيت الدين (لبنان) ـ وكالات: عندما تغني فيروز تصبح القدس بمتناول اليد وتصبح العودة الى فلسطين قاب قوسين او ادنى ويصبح الاف الحضور كمن يتحدون امكنتهم..كما لو انهم في قطار العودة الى الوطن المغتصب. وليل امس الاول لم تكن المسافة بين قصر بيت الدين وفلسطين ابعد من المسافة التي تفصل المسرح عن الجمهور والتي جعلتها فيروز مسافة من التجلي فكان صوتها يمتد الى البعيد الى خارج مسرح القصر الشهابي الاثري الى حيث يقف العشرات على سياج يتابعونها من الخارج. هكذا واكب اكثر من خمسة الاف شخص مساء امس الاول الليلة الاولى من حفل فيروز في قصر بيت الدين في جبل لبنان على ان تختتم سفيرة لبنان الى النجوم مهرجانات بيت الدين مساء امس الذي تغني فيه للعام الثالث على التوالي. غنت فيروز على مدى ما يزيد عن الساعتين من قديمها للاخوين رحباني وافتقد الجمهور نجلها زياد رحباني على المسرح بعد ان كانت ادراة لجنة المهرجان اكدت ان الحفلة مشتركة معه. وظل الجمهور يراهن على حضوره ولم يفقد الامل الا حين صعدت الفرقة الموسيقية بقيادة الارمني كارن دورغاريان المسرح فكثرت حينها التساؤلات عن سبب غيابه المفاجىء وبعضهم عزاه الى خلاف على البرنامج الذي لا يتضمن الكثير من اغانيه الجديدة لكن رئيسة لجنة مهرجانات بيت الدين نورا جنبلاط قالت لرويترز: ان لا خلاف مع زياد لكنهما اختارا ان لا يكون على المسرح. وتضمن البرنامج خمس اغنيات لزياد مقابل عشرين مقطوعة واغنية للاخوين رحباني. وبددت فيروز حالة التملل والضجر التي اصابت الحضور مع تاخير الحفل وما ان اطلت بفستانها الذهبي على وقع موسيقى اغنية في قهوة على المفرق حتى وقف الحضور مصفقا وخصوصا مع ادائها لمقطع (بتخلص الدني وما في غيرك يا وطني). وتبعتها بأغنية بذكر بالخريف لزياد رحباني و شادي و سلملي عليه وردد معها الجمهور امي نامت ع بكير وغادرت لتفسح بالمجال للكورال باداء اغنية طلو طلو الصيادي . ارتكز البرنامج على دفء اغاني الاخوين رحباني التي اعادت الذاكرة الى الحضور الذي تفاعل بالتصفيق والصراخ والتلويح بالايدي مع كل اغنية. وبدأ الحضور راضيا عن البرنامج منذ الدقائق الاولى لجلوسهم في مقاعدهم حين وجدوا البرنامج موضوعا على كل كرسي فكانوا يتفاعلون مع كل اغنية يقرأونها وكانهم يتصفحون اسئلة الامتحانات فيقول احدهم بكثير من الفرح (سوف تغني سألوني الناس) ويرد اخر (لا انه الكورال). وكالعادة لم تنس فيروز حصة القدس من صوتها (غاب نهار اخر.. غربتنا زادت نهار واقتربت عودتنا نهار) التي كانت قد غنتها المطربة اللبنانية سهام شماس في اوبريت (راجعون) للاخوين رحباني واتبعتها باغنية (يا ربوع بلادي). وتلقف الجمهور العربي الذي حضر بكثرة تساؤلات فيروز (يا ترى هل نعود الى ارض الجدود) وهكذا صار الشعر العربي يدور في مدار صوتها ويدخل قلوب عاشقيها على قمر ابيض. وروت فيروز للجمهور قصة بيسان (كانت لنا بيارة جميلة وضيعة ظليلة كان اسمها بيسان ..خذوني الى بيسان). كما انشدت (سيف فليشهر) ووقف الجمهور مواكبا (انا لا انساك فلسطين ويشد يشد بي البعد انا افيائك نسرين انا زهر الشوق انا الورد). وفي الفقرة الثانية التالية ادت فيروز (انا فزعانة) لزياد رحباني واغنية (لبيروت) لجواكيم رودريجو التي نالت تصفيق الحضور وخصوصا الاجانب منهم الذين حضروا بكثرة وتبعتها باغنية طريق النحل و حبيتك بالصيف . وتركت المسرح على وقع موسيقى سألوني الناس لتفسح بالمجال للكورال لادائها. وبعد تأدية الكورال اغنية زياد وجوزيف صقر عايشة وحدا بلاك عادت فيروز وفي جعبتها اغنية فيلمون وهبي ليلية بترجع يا ليل ومن ثم ادت مع الكورس ملهب جايي التي اخذت من مسرحية الاخوين رحباني يا عيش ياعيش . وختمت فيروز برنامجها المقرر بأغاني القمر بيضوي ومراكبنا وبيقولوا صغير بلدي لكن الجمهور رفض هذه النهاية واصر كالعادة على عودتها مرارا بعضهم لوح بصورة مكبرة لها وزعت في الحفل وبعضهم راح يصرخ مناديا بعودتها واحدهم انتزع قميصه عن جسده بقوة وراح يلوح به فنزلت عند طلبهم واعادت مقطعا من بيقولو صغير بلدي ومن ثم شتي يا دني واخيرا فاجأت الحضور بتأديتها اغنية جوزيف صقر وزياد رحباني عايشة وحدا بلاك . واجمع الجمهور على التأكيد: ان هذه الحفلة هي الاجمل لفيروز نظرا لليونة صوتها الذي ادى الاغاني القديمة بكل جرأة فقال الشاب كمال زين ان حفلة فيروز هذا العام من افضل حفلاتها اذ انها تكمل الاغنية الى نهايتها. وقال نبيل غياض: اننا نحضر كل عام لسماع صوت فيروز مهما غنت ولكننا نحب ظهورها مع زياد المسرح الذي يضفي بعضا من البهجة . واكدت فيلوت مخول وهي في الستينيات من عمرها ان صوت فيروز ما زال شابا ويستحق عناء المجيء الى هنا .
Hala Wel Malek(Piccadilly/Cedars/Damascus 1967)
The Plot:
It's the other face festivals in the kingdom of Selina. It's where everyone wears a mask and starts role playing. While the people are enjoying the festival, the king bans the wearing of the masks and ends the festivities. He does so because a prophecy tells that a princess will arrive to the kingdom wearing a mask and that she is the one the king should marry. His plan would help identify the princess since she will be the only one with a mask. The people, willingly and for the sake of their king, end the festivals.
Hala and her father arrive to the kingdom from a faraway place called Daraj Ellouz trying to sell Masks. They don't find any festivities. And so the father goes to the local bar leaving his daughter to sell the masks and bring him the money. The people
realizing that Hala is a stranger with a mask, think that she is the princess. The astronomer also confirms their theory. Hala gets confused, and they take her to the palace.
In the palace, they give her a new dress and present her to the king. Hala tells them her story and to prove she's telling the truth, she tells them about her father. The king sends some soldiers to the bar to bring Hala's father and offers Hala to await her father in the palace but she prefers to stay in the square.
When her father returns, they ask him if Hala is his daughter and he says she's not. The soldiers go to tell the king what happened. When Hala asks her father why he denied that she's his daughter, he tells her that he knew that if he says she isn't, she is going to be the princess and marry the king. He wants her to be wealthy and to live a better life than the one she has back home. Hala doesn't appreciate her father's wills and tells him to go back and drink then come back, perhapes then he'll say the truth. But then it was too late.
Hala stays with Saheriyah who ever since Hala's arrival and even earlier has been dreaming on inviting the princess to live with her and share her cloths and food. The king announces forty nights of feasts for the wedding. Later, the king's men and women all demand to meet with Hala. She tells them she won't marry the king. But even though they doubt or even know she is not a princess, they ask her to marry the king so that everyone could get a share from the feast. They even offer to conspire with her so that she, and they, can later exploit the king for their wants, but she asks them about love. Hala tells them that as they claim she is a princess, then the power that entails would give her the choice of refusing the marriage.
The king happy as ever asks for the princess and is told that she is getting ready for the wedding. The beggar, however, stands out and discloses the truth that Hala doesn't wish to marry him. He meets with the king in private and convinces him that not everyone wants to become a king, and happiness can be easily found. The king borrows the beggar’s cloths and goes to meet Hala. They talk to eachother. When he asks her, while pretending to be a beggar, why not marry the king and exploit him. She tells him she's not interested but that's what the King's servants asked her to do. Then she realizes she is talking to the king. The king too realizes the truth about his city that his men has been hiding from him. It ends with Hala departing the city.
Quick Notes:
I like fantasy worlds very much and this play is set in a kingdom called Selina and from the start of the play, it captivates you with enchanting music and an interesting festival in which people wear masks and spend the night role playing. Then come twists and turns in which the story develops into the fable that it is.
Unlike almost all other plays, the second introduction is a few minutes into the second disc. Also, the songs on each disc are crammed into one track. The booklet only contains the track listings in Arabic and English as well as a few lines from the play.
Credits:
Fairuz ... Hala
Nasri Shameseddin ... El Malek
Huda ... Saheryyieh
Elie Choueiri ... Habb Eryyh
Mohamed Merhi ... El moustachar
Joesph Nassif ... El Araaf
William Haswani ... Eshehad
With Melhem Barakat.
Written by the Rahbani Brothers and directed by Sabri Sharif.
Album Tracks:
Disc 1 (52'45")
Listen to : Listen to : Shayef El Bahr Shou Kbir
1. Overture
2. Sahriye Faouk Sahriye
3. Tall El Eid
4. Bi Amr El Malek
5. Ya Ahali Selina
6. Ya Zahrat El Leyl 7. Jayine Ala Sahet Selina
8. Ya Bayyi Ya Habb Erryh
9. Lala Yaba Lala
10. Hiyyi Hiyyi
11. Herrass El Madina
12. Ya Mkassat
13. Kltely El Meraye
14. Douckoul El Malek
15. Metl Ma Enhaka
16. Dakket Ala Sadry
17. Habibi Baddoul Amar
Disc 2 (55'35")
Listen to : Shayef El Bahr Shou Kbir
1. Tessad Fiha
2. Arreb Ya Moustashar
3. B'temshou Shouway
4. Fouti Ala Bouyoutna
5. Daraj El Laouz
6. Introduction Part 2
7. Nami Ya Sabiyeh
8. Harab El Eid
9. Ya Shehad El Madina
10. Ya Hassreti Alayya
11. Be'adelha El Be'addel
12. Sahranin Ou Mabsoutin
13. Heyk B'tenkirni Ya Bayyi
14. Ana Bentak Ou Enta Bayyi
15. Ya Ahali Selina
16. Baddi Abel El Amira
17. Shayef El Bahr Shou Kbir
18. Ya Ahali Slina Emeltouni Amira
19. Oumou Rkoussou Ou Frahou
20. El Malek Ou Eshehad
21. El Malek Ou Hala
22. Rayhin Min Sahet Selina Total time 108'10" - VDLCD 536/537
Ayyam Fakherddeen
(Baalbeck 1966)
Booklet Summary:
The story begins in the year 1618 when the people of Lebanon are hurrying to welcome their prince Fakhr Eddeen from his return in Toscana where he has been in exile. During the ceremony, the people offer him rich gifts as their tokens of love and loyalty. Itr Allayl, a young girl from Antilias, presents him with a sword of gold. Her song and her message go so deeply into the heart of the prince that he asks her to continue her singing as an inspiration to himself and to all of her countryfolk. Her message becomes a symbol for the building of Lebanon.
But the times are not easy and there is so much to be accomplished. Koujok Ahmad, an Osmani protégée raised in the palace, is now an officer in the army of the prince. He requests an important position but his wish is refused. Koujok is unhappy and therefore conspires to overthrow the prince. He seeks the aid of Princess Mountaha who is the daughter of an influential family which has been overshadowed by Fakhr Eddeen. Koujok succeeds in the inflaming the Osmani Sultan with rage when he reveals that Fakhr Eddeen aims a building a powerful Lebanon and endangering the interests of the Ottoman Empire. Therefore, the diplomatic Sultan tries to win the loyalty of the prince and the Lebanon by endowing him with special title "The Sultan of Al Barr". In exchange of this honor, the Sultan asks Fakhr Eddeen to give up his projects for the construction of Lebanon. Fakhr Eddeen refuses to do so with the excuse that the purpose of his projects are to consolidate his friendship and loyalty with the Ottoman Empire.
Fakhr Eddeen begins to expand and clashes with Mustafa Basha who is the governor of Damascus. A disagreement starts when the Governor refuses to hand over the administration of Nablus and Ajloun to Fakhr Eddeen. A great battle takes place at Anjar and the prince wins taking Mustafa Basha as prisoner.
the prince graciously releases him stating that he only wants peace.
The successes of the Prince inflame the grudge of the Koujak and Princess Mountaha. Koujok desires to go directly to Istanbul to convince the authorities that they should hasten and fight the Prince before he becomes too powerful. Mountaha thinks differently and suggests fighting the Prince without a war. Koujok refuses and leaves for Istanbul.
Itr Allayl meets the Princess by chance. The Princess is unable to carry the weight of her grudge and regrets her mistake. Lebanon is now prosperous with commerce and the ships fill the newly constructed ports. Suddenly the news comes from Istanbul that a huge army of one hundred thousand soldiers is heading for Lebanon. Even though the army of the Lebanon consists of only twenty five thousand men, they bravely prepare to defend their country. The people hope for an early rainy season which will block the mountain passes and stop the invaders.
Itr Allayl grows anxious over the war. The prince consoles with her and explains that the issue is a worthy one since it concerns the building of a country and a nation. The Prince replies: "I must personally prove to my people and the enemy that Lebanon is made to live and can live." Her father tries to calm her by telling her that great men have great dreams. He says "The fate of Fakhr Eddeen is the fate of Lebanon."
... And comes the end
Fakhr Eddeen seeks refuge in a cave in Jezzine. Itr Allayl seeks him out in his hiding place and finds him alone with only a few of his most loyal friends. The winter season is exceptionally late this year and there is danger of discovery from one of the scouting parties of the enemy.
A mercenary soldier discovers the hiding place of the prince and reveals the secret to Koujok Ahmad. Koujok encircles the cave and demands that the prince surrenders. The faithful friends of the Prince anxiously await his orders to fight the Osmani traitor. The Prince replies: "What has happened is enough, we should not destroy what we have built. We did what we had to do and this is our fate. The enemy wants only me, the bargain is for me alone."
Itr Allayl refuses to believe that the Prince must leave Lebanon. When she asks: "Is it true that you are surrendering?" The Prince replies: "Did the people build the country and did they plant the land and did they erect the bridges?" Itr Allayl answers that all has been accomplished. The Prince then proudly exclaims: "My girl, my departure is not important, the important issue is that the Lebanon exists now and forever."
Fakhr Eddeen surrenders to the enemy and Itr Allayal in her grief begins to sing. Suddenly her grief changes to happiness as she realizes that Lebanon will live and remain. She inspires everyone with her feelings until all join her in the song. Heroes depart but their stories never end.
Quick Notes:
Based on real events, the Rahbani Brothers wrote this epic for Baalbeck festivals of 1966. For the plot, refer to the booklet summary. As for the audio, it's good but it changes in volume and quality in some parts but not to the extent to make it unenjoyable. The dialogues/songs are divided into three tracks on each disc. Let's hope the play will be re-issued at better quality. In the end, it's a great play with great songs and a great plot.
The Credits:
Fairuz as Itr Allayl, Nasri Shammesddin as Fakhr Eddeen and Philemon Wehbe as Bou GergiWith Huda Haddad, Siham Chammas, Salah Tizani, Joesph Nassif, Mohamed Merhi, Elie Choueri, William Haswani, Renee Haswani, Said Azar, Michel Haj, Melhem Barakat, Roger Assaf, Madona Ghazi and Andre Gedeon. Written by the Rahbani Brothers and directed by Sabri Sharif.
Album Tracks:
CD1 (72'02")
1. Musical Introduction
2. Istigbal Fakhr Eddeen
3. Hadaya Manateg
4. Alguawaleen
5. Dabket Loubnan
6. Qate'Mitl Aladl
7. Agassam
8. Al Amir Wal Koujok Ahmad
9. Ya Mawlana Alamir
10. Wadi Ilak
11. Almo'amara
12. Sarrekh Ya Dib
13. Ya Ahl Alhay
14. Ya Mighzal
15. Baya' Een Alhareer
16. Alihtijaj Ala
17. Addareyeb
18. Gharrab Alhassoun
19. Majless Alforoosyah
20. Keefak Ya Bayyi Abbas
21. Barteel
CD2 (65'41")
Listen to : Ya Saken Al'ali
1. Haflet Alamir
2. Alfaraman
3. Khatet Adamkon
4. Ya Mhayret Elalali
5. Ma'raket Anjar
6. Ya Saken Al'ali
7. Bayi Rah Ma'hal Askar
8. Safr Alkujok
9. Mountaha wa 'Itr Allayl
10. Heila Lessa
11. Yikhzi Elain
12. Irtah Irftah
13. Shawateena
14. Marakibna
15. Khayfeh
16. Waynak Waynak
17. Wen Rayeh Ya Bayyi
18. Takhar Ashiteh
19. Atassleen
20. Raje Biswaat Albalabel.
Total time 137'43" -VDLCD 525/526
Bia'a El-Khawatem (Baalbeck 1964)
The Plot and Quick Notes:
The Moukhtar of a small village claims that he fights someone called Rajeh. Some of the villagers question his stories because none of them has seen this Rajeh. Almoukhtar says he always fights him trying to defend the villagers from his evil. He brings his niece Rima as a witness to his claims. Almoukhtar, later, tells Rima that it was all his idea so that the people will enjoy his tales. But some goons in the village exploit the story and start menacing around, and Rajeh gets the blame. The events coincide with the annual singles festival where all still unmarried young people try to find someone to marry. In the midst of all this, someone called Rajeh arrives. He first meets with Rima. When he tells her his name, she gets scared and tells her uncle about her encounter. Elmoukhtar tells Ashawish about Rajeh’s arrival and they form search groups. Fadlou and Eed think of escaping from Rajeh because they think he knows they used his name to cover their crimes. On the night of engagements, Rajeh meets with Elmoukhtar and the villagers. He tells them that he only came to them with his merchandise, rings and scarves, which he will give to them for free in exchange that Elmoukhtar would give him Rima as a wife for his son. When asked for her opinion, Rima agrees so that their story will continue. Almoukhtar catches Fadlou and Eed and sentence Eed to marry Zbayda and Fadlou to work for her.
The play was turned into a film later in 1964. There are a lot of differences between the two versions. Even some songs are missing from the film and others have different arrangements like Alouli Ken. Some of the characters have different roles too. Philemon Wehbe plays as Almouhandes in the play while he takes the role of poultry store owner in the film. Unlike the other films, Rings for Sale doesn't have a soundtrack, but the play tapes/CDs can be also used as the soundtrack for the film.
Credits:
Fairuz ... Rima
Nasri Shameseddine ... Elmoukhtar
Joseph Nassif... Fadlou
Elie Chouieri ... Eed
Philemon Wehbe ... Sabe'h Elmouhandes
Written by the Rahbani Borthers. The music of 'Al Ali Eldar' and 'Ya Mirsal El Marasil' were written
by Philemon Wehbe.
CD1 54'05"
Listen to: Laymti Rah Dal & Taa Woula Tiji
1. First Introduction 1'30"
2. Ya Moukhtar 2'30"
3. Ahla Rima 1'39"
4. Al Ali Eldar 2'58"
5. Laymti Rah Dal 1'44"
6. Taa Woula Tiji 3'04"
7. I'd Wou Fadlou 2'03"
8. Fi Awamer 2'43"
9. Zihou Estafou 2'13"
10. Immi Namet 2'09"
11. Ya Nawateer 6'09"
12. Ya Hajal Sannine 3'20"
13. Marti Waetni 1'06"
14. Tiri Ya Roufouf 2'55"
15. Shou Hal Ayta 2'22"
16. Hayed Hayed 1'56"
17. Badna Al Tourkat 3'25"
18. Gomr el Ghadayer 3'05"
19. Hayet Hal Moukhtar 2'43"
20. Tallou El Siyadi 4'29"
CD2 48'19"
Listen to: Ya Mirsal El Marasil
1. Second Introduction 1'04"
2. Ya Mirsal El Marasil 3'35"
3. Masa El Kheir 1'23"
4. Ya Rima Indi Fikra 2'05"
5. Layl Bsahetna 2'06"
6. Ya Helwet Eldar 3'30"
7. Alouli kin 3'33"
8. Ya Helwi Shou Haltali 1'51"
9. Hayadou El Hilwin 3'17"
10. Badi Aref Kif 1'26"
11. Ya Bnayat Wein Kintou 4'15"
12. Bramna Bil Ghabi 1'57"
13. Rajeh Baadak Ma Filayt 1'41"
14. Mawsem El Khotbi 1'37"
15. Tolli Edhakilou 1'01"
16. Bihdourak Ya Moukhtar 2'27"
17. Baddi El Khawatem 3'39"
18. Ya Biyaa El Khawatem 2'25"
19. Ya Moukhtar 1'26"
20. Ala Mahlak 1'19"
21. Ghar Yektof Ghar 2'42" Approx. Time 102'24" - VDLCD 584/585 
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