Yazan strikes once more, this time with a phenomenal mural painted on constructing beforehand destroyed by the Civil Conflict positioned on Beirut’s Greenline – the previous frontline of the Civil Conflict splitting Beirut into the Christian East and the Muslim West. The mural depicts a scene from Ziad Doueiri’s traditional West Beirut film the place Tarek Noueiri, a Muslim child is sharing cotton sweet with Could, a Christian woman whose household took refuge in West Beirut.
Right here’s what Halwani mentioned:
The mural is a reminder of Lebanon’s post-war settlement: a political system constructed on sectarianism and enterprise curiosity that blocks true nationwide cohesion. The persistence of the present political class in fueling sectarian grievances and obstructing the rule of regulation displays within the ever-growing authorities debt, absence of fundamental providers and restricted civil rights. Living proof, 27 years after the tip of the Civil Conflict, with the absence of civil marriage Tarek and Could wouldn’t be capable of get married if their story had continued (…in the way in which I think about).