<em>Hartaqât</em>: Heresies of a World with Policed Borders

(l-r) Lina Majdalanie, Rabih Mroueh, Raed Yassine and Souhaib Ayoub, on the playbill for "Hartaqât," playing in Paris in the Festival d'Automne 2023, (photo Nora Rupp).

9 OCTOBER 2023 • By Nada Ghosn
For their new theatre piece, Lebanese artists Lina Majdalanie and Rabih Mroueh invited contributions from three writers who cross borders of social class, gender, religion and geographical space. In a mix of theatrical performance, music and visual arts, these three voices bear witness to the courage of exiles, celebrating the metamorphoses of today’s Lebanon in a globalized world.

 

Nada Ghosn

 

“One day in my early twenties, while stuck in one of Beirut’s usual traffic jams, I peed my pants. I found myself emptying the entire contents of my bladder on the seat. Since that day I have been afraid that the accident would repeat itself. And it did,” says actor Raed Yassin, declaiming Rana Issa’s text, “Incontinence.” 

After receiving this first text, Rabih Mroueh and Lina Majdalanie, a couple who have been working together for over 20 years, decided to adapt it for the stage as part of Hartaqât (Heresies, in Arabic), performed at the Théâtre du Rond-Point des Champs-Elysées in Paris in September and now on tour across Europe. 

Produced by the Théâtre Vidy-Lausanne, the performance, which blurs the boundaries between theatre, music and the visual arts, is divided into three chapters and three texts, by Rana Issa, Bilal Khbeiz and Souhaib Ayoub — Lebanese writers from three different generations who, like co-directors Mroueh and Majdalanie, were forced to cross borders in the middle of their lives, to go into exile far from their country of origin.

We felt it was important to present these texts today, as they are linked to our Middle Eastern societies, as well as to the world. Just as we did, Rana Issa fled Lebanon because of the economic crisis, essayist Bilal Khbeiz because of his subversive writings and the decline in freedom of expression, and journalist Souhaib Ayoub — the only political refugee among us — because of his gay identity,” confides Mroueh in conversation with TMR. 

Actor and musician Raed Yassin plays the role of Rana Issa, with the help of his double bass. He plays the part of a woman without mimicry, and for this he had to find an alternative language for the instrument. The meme reads “My problem with urine is the odor.”

Stories to deconstruct discourse

“Incontinence” is about the sensual, subversive pleasure of pissing on the world to better mark one’s territory — or perhaps to rid oneself of particular landmarks. The piece is a commentary on restrictive national borders, but also social restrictions on citizens. “Today, countries are closing their borders, and populist and nationalist rhetoric is gaining strength everywhere…States no longer have control over the global economy, and are becoming increasingly policed,” says Mroueh.

Through the story of her grandmother Izdihar, a Palestinian refugee in Lebanon, author Rana Issa rethinks the notions of Ummah (community, nation), Umm (mother) and Ummiyya (illiteracy). “Her text served as a catalyst for us, as it analyzes the relationship to language, linked to the mother, but also to the nation,” explains Mroueh. “Through the story of her grandmother, Rana Issa deconstructs macho and religious discourse, while showing that women can also be accomplices [to upholding those discourses].”

Should I of all people train myself to accept the authority of social conventions? What conventions could I trust in the wake of the end of the Lebanese civil war? How old was I when the war ended? Hardly a teenager. Like many of my generation, I didn’t find any reason to submit to any law or accepted rule of our violent society. Drugs were our emblem for rejecting authority, both familial and public. We used to chat about our psychological deviance as if depression and obsession were heroic qualities we aspired to. But of course, I didn’t share my bladder issues with my friends, nor did they share with me their own issues with the authority of shame. I didn’t follow the doctor’s orders. I was more interested in understanding the cause of my out-of-control bladder than finding a solution. 

—from “Incontinence” by Rana Issa.

Personal stories trace interwoven struggles, becoming material for political, social, linguistic and queer reflection. How does one go on with one’s life when everything one has learned and built up through one’s experiences becomes a hindrance? What do you do when you’re born a second time, and find yourself a child in adulthood? Rana Issa, who wound up a refugee in Sweden, recounts how she found herself illiterate as an immigrant. For a long time, she had no command of the Swedish language, and came to find that her daughter had become her mother. 

Lina Majdalanie in Hartaqât, her new performance piece directed by Rabih Mroueh. Credits Nora Rupp.
Lina Majdalanie in Hartaqât, her new performance piece directed by Rabih Mroueh.

Exile, a second birth?

“We were looking for other texts and remembered this essay by Bilal Khbeiz, who was forced to leave Lebanon a few years ago when his writings put him in danger,” Mroueh continues. The journalist had to start a new life in middle age. Now based in the United States, his text attempts to reflect on what happened to him. 

I watched my friends and enemies inherit from me. Some of them were eulogizing me. I was thankful for their loving eulogy but I could not return the affection. 

That is how we die. Some types of death are not a choice but all types of birth are obligatory. You do not choose to be born but you may choose to die. Until now, after long years, I am unable to prove that I died of my own will but I was born twice.

When you become incapable in sharing love, that is when you are born again. 

Excerpt from “Non-functional Memories” by Bilal Khbeiz, translated by Rayya Badran.

Khbeiz recounts his defeat and disappointments not as a form of revenge-seeking, but rather of savoring defeat while continuing his political reflection on the contemporary world.

Photo: Souhaib Ayoub breaks down stereotypes, showing another face of his city, Tripoli, which he had to flee because of his gay identity. photo Nora Rupp.
Souhaib Ayoub breaks down stereotypes, showing another face of his city, Tripoli, which he had to flee because of his gay identity. The meme reads “and so it was the wearing of black veils that became more or less mandatory for most of the women in Tripoli…”

The socio-political roots of xenophobia

The director duo then commissioned a piece of writing from journalist Souhaib Ayoub, who had to flee his native Tripoli, Lebanon, as its increasing conservatism made life difficult for him as a gay man. His text breaks down stereotypes, showing another face to the city, which was once an open and modern cultural capital before a Salafist ideology took hold and flourished there during the civil war. More recently, Tripoli has been at the forefront of a revolutionary movement, becoming the de-facto capital of the Lebanese uprising that broke out on October 17, 2019.

For Ayoub, identities are intertwined with the urban, social and political forms that a city produces. The author calls himself one of the many images of Tripoli’s metamorphoses, where queer life emerges at night. To tell the story of his life and the early discovery of his homosexuality is to tell the story of his city. Denouncing the discrimination and threats he endured, testifying to his struggle for freedom right up to his exile, says a lot about life in the working-class neighborhoods like the one in which he grew up: the political conflicts between families, gangs and religious communities, and their economic impact. Through his story, Ayoub analyzes the social and political roots of these tensions, from the French mandate through the civil war to the present day.

My name is Gloria. My friends at school gave me this name: Gloria. I was 13 years old. 

Gloria is a nickname for a trans woman from Al-Mina. I didn’t know what trans meant. Gloria was black and lived in a neighborhood that racists unashamedly call: negro neighborhood. It originally consisted of thatched huts built for African people whom the French army brought as “servants” for their soldiers. I inherited the nickname Gloria from an African trans woman whose grandparents were abandoned here by the colonizers, in a society which was not theirs and who became Tripolitans by chance, but of second or third or fourth rate. Exactly like my parents. (…) They lived their whole lives in Tripoli but remained foreigners in it. As for us kids, we remained the children of the farmer and the Syrian mother. 

—Excerpt from “The Imperceptible Ooze of Life” by Souhaib Ayoub, translated by Rayya Badran.

Hartaqât, which already had its premiere at the Théâtre Vidy-Lausanne will return there after the series of performances at the Théâtre du Rond-Point des Champs-Elysées. “It’s vital to get these texts heard. The dictatorships of the world we come from mean that people flee disasters. Yet, as we’ve seen with the Syrian war, Europe doesn’t want to welcome these refugees,” remarks Rabih Mroueh. “There’s a crisis in political discourse. The left’s inability to be self-critical is strengthening the right. Religious discourse is on the rise because people have nothing left to hold on to. And this virus is present everywhere, even if you close the borders.”

 

Nada Ghosn

Nada Ghosn Nada Ghosn is a Paris-based writer who has lived in the Emirates, Yemen, Syria, Lebanon and Morocco, where she has worked for the press and diverse cultural institutions. These days she works as a freelance translator and journalist, having translated... Read more

Nada Ghosn is a Paris-based writer who has lived in the Emirates, Yemen, Syria, Lebanon and Morocco, where she has worked for the press and diverse cultural institutions. These days she works as a freelance translator and journalist, having translated several essays, art books, novels, film scripts, plays, and collections of short stories and poetry from Arabic into French. She regularly covers culture and society for such publications as an-Nahar, Grazia and Diptyk, and participates in art projects, conferences and performances.

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1 AUGUST 2022 • By Fouad Mami
Questionable Thinking on the Syrian Revolution
Art

Abundant Middle Eastern Talent at the ’22 Avignon Theatre Fest

18 JULY 2022 • By Nada Ghosn
Abundant Middle Eastern Talent at the ’22 Avignon Theatre Fest
Editorial

Editorial: Is the World Driving Us Mad?

15 JULY 2022 • By TMR
Editorial: Is the World Driving Us Mad?
Fiction

Where to Now, Ya Asfoura?—a story by Sarah AlKahly-Mills

15 JULY 2022 • By Sarah AlKahly-Mills
Where to Now, Ya Asfoura?—a story by Sarah AlKahly-Mills
Film

Lebanon in a Loop: A Retrospective of “Waves ’98”

15 JULY 2022 • By Youssef Manessa
Lebanon in a Loop: A Retrospective of “Waves ’98”
Book Reviews

Leaving One’s Country in Mai Al-Nakib’s “An Unlasting Home”

27 JUNE 2022 • By Rana Asfour
Leaving One’s Country in Mai Al-Nakib’s “An Unlasting Home”
Columns

Why I left Lebanon and Became a Transitional Citizen

27 JUNE 2022 • By Myriam Dalal
Why I left Lebanon and Became a Transitional Citizen
Featured excerpt

Joumana Haddad: “Victim #232”

15 JUNE 2022 • By Joumana Haddad, Rana Asfour
Joumana Haddad: “Victim #232”
Fiction

Rabih Alameddine: “Remembering Nasser”

15 JUNE 2022 • By Rabih Alameddine
Rabih Alameddine: “Remembering Nasser”
Fiction

“The Salamander”—fiction from Sarah AlKahly-Mills

15 JUNE 2022 • By Sarah AlKahly-Mills
“The Salamander”—fiction from Sarah AlKahly-Mills
Art & Photography

Film Review: “Memory Box” on Lebanon Merges Art & Cinema

13 JUNE 2022 • By Arie Amaya-Akkermans
Film Review: “Memory Box” on Lebanon Merges Art & Cinema
Film Reviews

2022 Webby Honoree Documents Queer Turkish Icon

23 MAY 2022 • By Ilker Hepkaner
2022 Webby Honoree Documents Queer Turkish Icon
Opinion

France’s new Culture Minister Meets with Racist Taunts

23 MAY 2022 • By Rosa Branche
France’s new Culture Minister Meets with Racist Taunts
Book Reviews

Fragmented Love in Alison Glick’s “The Other End of the Sea”

16 MAY 2022 • By Nora Lester Murad
Fragmented Love in Alison Glick’s “The Other End of the Sea”
Featured excerpt

Arguments Toward a Universal Palestinian Identity

11 MAY 2022 • By Maurice Ebileeni
Arguments Toward a Universal Palestinian Identity
Beirut

Fairouz is the Voice of Lebanon, Symbol of Hope in a Weary Land

25 APRIL 2022 • By Melissa Chemam
Fairouz is the Voice of Lebanon, Symbol of Hope in a Weary Land
Book Reviews

Egyptian Comedic Novel Captures Dark Tale of Bedouin Migrants

18 APRIL 2022 • By Saliha Haddad
Egyptian Comedic Novel Captures Dark Tale of Bedouin Migrants
Art & Photography

Ghosts of Beirut: a Review of “displaced”

11 APRIL 2022 • By Karén Jallatyan
Ghosts of Beirut: a Review of “displaced”
Columns

Music in the Middle East: Bring Back Peace

21 MARCH 2022 • By Melissa Chemam
Music in the Middle East: Bring Back Peace
Essays

“Gluttony” from Abbas Beydoun’s “Frankenstein’s Mirrors”

15 MARCH 2022 • By Abbas Baydoun, Lily Sadowsky
“Gluttony” from Abbas Beydoun’s “Frankenstein’s Mirrors”
Book Reviews

The Art of Remembrance in Abacus of Loss

15 MARCH 2022 • By Sherine Elbanhawy
The Art of Remembrance in <em>Abacus of Loss</em>
Essays

Taming the Immigrant: Musings of a Writer in Exile

15 JANUARY 2022 • By Ahmed Naji, Rana Asfour
Taming the Immigrant: Musings of a Writer in Exile
Editorial

Refuge, or the Inherent Dignity of Every Human Being

15 JANUARY 2022 • By Jordan Elgrably
Refuge, or the Inherent Dignity of Every Human Being
Book Reviews

Meditations on The Ungrateful Refugee

15 JANUARY 2022 • By Rana Asfour
Meditations on <em>The Ungrateful Refugee</em>
Book Reviews

Temptations of the Imagination: how Jana Elhassan and Samar Yazbek transmogrify the world

10 JANUARY 2022 • By Rana Asfour
Temptations of the Imagination: how Jana Elhassan and Samar Yazbek transmogrify the world
Columns

My Lebanese Landlord, Lebanese Bankdits, and German Racism

15 DECEMBER 2021 • By Tariq Mehmood
My Lebanese Landlord, Lebanese Bankdits, and German Racism
Fiction

Three Levantine Tales

15 DECEMBER 2021 • By Nouha Homad
Three Levantine Tales
Comix

How to Hide in Lebanon as a Western Foreigner

15 DECEMBER 2021 • By Nadiyah Abdullatif, Anam Zafar
How to Hide in Lebanon as a Western Foreigner
Book Reviews

From Jerusalem to a Kingdom by the Sea

29 NOVEMBER 2021 • By Rana Asfour
From Jerusalem to a Kingdom by the Sea
Art

Etel Adnan’s Sun and Sea: In Remembrance

19 NOVEMBER 2021 • By Arie Amaya-Akkermans
Etel Adnan’s Sun and Sea: In Remembrance
Columns

Burning Forests, Burning Nations

15 NOVEMBER 2021 • By Hadani Ditmars
Burning Forests, Burning Nations
Book Reviews

Diary of the Collapse—Charif Majdalani on Lebanon’s Trials by Fire

15 NOVEMBER 2021 • By A.J. Naddaff
<em>Diary of the Collapse</em>—Charif Majdalani on Lebanon’s Trials by Fire
Book Reviews

The Vanishing: Are Arab Christians an Endangered Minority?

15 NOVEMBER 2021 • By Hadani Ditmars
The Vanishing: Are Arab Christians an Endangered Minority?
Interviews

The Anguish of Being Lebanese: Interview with Author Racha Mounaged

18 OCTOBER 2021 • By A.J. Naddaff
The Anguish of Being Lebanese: Interview with Author Racha Mounaged
Book Reviews

Racha Mounaged’s Debut Novel Captures Trauma of Lebanese Civil War

18 OCTOBER 2021 • By A.J. Naddaff
Racha Mounaged’s Debut Novel Captures Trauma of Lebanese Civil War
Featured excerpt

Memoirs of a Militant, My Years in the Khiam Women’s Prison

15 OCTOBER 2021 • By Nawal Qasim Baidoun
Memoirs of a Militant, My Years in the Khiam Women’s Prison
Art & Photography

Displaced: From Beirut to Los Angeles to Beirut

15 SEPTEMBER 2021 • By Ara Oshagan
Displaced: From Beirut to Los Angeles to Beirut
Editorial

Why COMIX? An Emerging Medium of Writing the Middle East and North Africa

15 AUGUST 2021 • By Aomar Boum
Why COMIX? An Emerging Medium of Writing the Middle East and North Africa
Latest Reviews

Rebellion Resurrected: The Will of Youth Against History

15 AUGUST 2021 • By George Jad Khoury
Rebellion Resurrected: The Will of Youth Against History
Latest Reviews

Women Comic Artists, from Afghanistan to Morocco

15 AUGUST 2021 • By Sherine Hamdy
Women Comic Artists, from Afghanistan to Morocco
Weekly

World Picks: August 2021

12 AUGUST 2021 • By Lawrence Joffe
World Picks: August 2021
Columns

Remember 18:07 and Light a Flame for Beirut

4 AUGUST 2021 • By Jordan Elgrably
Remember 18:07 and Light a Flame for Beirut
Weekly

Heba Hayek’s Gaza Memories

1 AUGUST 2021 • By Shereen Malherbe
Heba Hayek’s Gaza Memories
Columns

Lebanon’s Wasta Has Contributed to the Country’s Collapse

14 JUNE 2021 • By Samir El-Youssef
Lebanon’s Wasta Has Contributed to the Country’s Collapse
Weekly

War Diary: The End of Innocence

23 MAY 2021 • By Arie Amaya-Akkermans
War Diary: The End of Innocence
Weekly

World Picks: May – June 2021

16 MAY 2021 • By Lawrence Joffe
World Picks: May – June 2021
Latest Reviews

The World Grows Blackthorn Walls

14 MAY 2021 • By Sholeh Wolpé
The World Grows Blackthorn Walls
Essays

Reviving Hammam Al Jadeed

14 MAY 2021 • By Tom Young
Reviving Hammam Al Jadeed
Art

The Labyrinth of Memory

14 MAY 2021 • By Ziad Suidan
The Labyrinth of Memory
Fiction

A Home Across the Azure Sea

14 MAY 2021 • By Aida Y. Haddad
A Home Across the Azure Sea
Weekly

World Picks: April – May 2021

18 APRIL 2021 • By Malu Halasa
World Picks: April – May 2021
Latest Reviews

Lost in Marseille

17 APRIL 2021 • By Catherine Vincent
Lost in Marseille
Columns

Memory and the Assassination of Lokman Slim

14 MARCH 2021 • By Claire Launchbury
Memory and the Assassination of Lokman Slim
Weekly

Hanane Hajj Ali, Portrait of a Theatrical Trailblazer

14 FEBRUARY 2021 • By Nada Ghosn
Hanane Hajj Ali, Portrait of a Theatrical Trailblazer
TMR 5 • Water

Drought and the War in Syria

14 JANUARY 2021 • By Jordan Elgrably
Drought and the War in Syria
Film Reviews

Muhammad Malas, Syria’s Auteur, is the subject of a Film Biography

10 JANUARY 2021 • By Rana Asfour
Muhammad Malas, Syria’s Auteur, is the subject of a Film Biography
TMR 4 • Small & Indie Presses

Children of the Ghetto, My Name Is Adam

14 DECEMBER 2020 • By Elias Khoury
Children of the Ghetto, My Name Is Adam
TMR 4 • Small & Indie Presses

Shahla Ujayli’s “Summer With the Enemy”

14 DECEMBER 2020 • By Shahla Ujayli
Shahla Ujayli’s “Summer With the Enemy”
TMR 4 • Small & Indie Presses

Shahla Ujayli’s “Summer With the Enemy”

14 DECEMBER 2020 • By Shahla Ujayli
Shahla Ujayli’s “Summer With the Enemy”
TMR 3 • Racism & Identity

I am the Hyphen

15 NOVEMBER 2020 • By Sarah AlKahly-Mills
I am the Hyphen
Beirut

An Outsider’s Long Goodbye

15 SEPTEMBER 2020 • By Annia Ciezadlo
An Outsider’s Long Goodbye
Beirut

Wajdi Mouawad, Just the Playwright for Our Dystopian World

15 SEPTEMBER 2020 • By Melissa Chemam
Wajdi Mouawad, Just the Playwright for Our Dystopian World
Beirut

Beirut In Pieces

15 SEPTEMBER 2020 • By Jenine Abboushi
Beirut In Pieces
Beirut

Salvaging the shipwreck of humanity in Amin Maalouf’s Adrift

15 SEPTEMBER 2020 • By Sarah AlKahly-Mills
Salvaging the shipwreck of humanity in Amin Maalouf’s <em>Adrift</em>
What We're Into

Dismantlings and Exile

14 SEPTEMBER 2020 • By Francisco Letelier
Dismantlings and Exile
Columns

Why Non-Arabs Should Read Hisham Matar’s “The Return”

3 AUGUST 2017 • By Jordan Elgrably
Why Non-Arabs Should Read Hisham Matar’s “The Return”

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