01 August 2005
BEIRUT: In art, especially in music, there are those who want to preserve a form, those who want to innovate, and those who merely want to make money. Today, unfortunately, it seems that those who merely want to make money often do best. Although those who innovate may live with the memory of classical forms, those who wish to preserve traditional styles are increasingly marginalized.
Every region has its cultural heritage. Yet with the globalization of entertainment and artistic media, only a few regions are seeing their cultural heritage preserved, enhanced, and promoted - largely due to the limited profit that can be gained from such development.
This is why the few individuals who are working to keep age-old artistic forms alive and well are true gifts to their communities. In this sense, Alain Merheb was one of Lebanon's greatest treasures. He will be missed.
The passing of the "King of Al-Howara" leaves a serious gap in the world of Lebanese performing arts, coming at a time when Lebanon and the larger Arab world are facing a serious crisis in musical development.
Merheb, who died on July 24 2005, taught the world about authentic Lebanese music and dance for over half a century.
Merheb was a pioneer of the howara, a type of song that involves presenting satirical texts on social, economic, and political issues through music. The main recurring melody follows the famous bayati oriental maqam (the closest definition in English for maqam is 'scale').
Yet Merheb did not only sing the Howara; he paid tribute to many of the different styles found in the various regions of Lebanon and in the country's close neighbors.
These musical styles include the "Dalouna," "Ateba," "Mijana," "Houaydalak," and others.
Merheb was also a key contributor to the traditional Lebanese dance scene. A virtuoso Dabke (folk dance) performer, he was the principal dancer of "Troupe Romeo Lahoud" at the 1968 Baalbeck International Festival. He starred - along with Lebanese singer Sabah - in 1969 as Romeo Lahoud's lead dancer at the Olympia Theater in Paris, and at the "Theatre des Beaux Arts" in Belgium. In 1970, he danced the lead in the Romeo Lahoud musical comedy "Faramane." Merheb was entrusted with the choreography of some of Lahoud's prominent musical comedies, including "Mahrajan Phoenicie" (1980), "Awasef" in (1971), "Min-Jaouz-Min" (1972), "Founoun Jounoun" (with Sabah, 1973).
Merheb choreographed countless theater pieces and dances, working with prominent artists such as the Egyptian star Chouwekar, as well as with Sabah at the Albert Hall in London. He also contributed to the International Festival at Jerash in 1987.
In 1979, Merheb married Nay Lahoud, Romeo's sister. Together, they began a dance and choreography collaboration that shone for over than 15 years, as they remained faithful to the integrity and powerful movements of the Dabke.
I had the privilege on several occasions of seeing Merheb an hour before scheduled musical performances. He used to isolate himself, working on the text. The lyrics differed for each performance, depending on the circumstances of the evening. When the audience included politicians and other personalities, texts were always prepared to tease them with a masterful blend of wit, sarcasm, and sensitivity. I remember him making sure that he did not miss anyone, so there were no feelings of favoritism.
Above all, Alain Merheb was a free spirit. An unforgettable player in all aspects of life, he had a natural gift for showing what was at once valuable and ephemeral. He used to tell me: "Seize the moment, yet treat others with dignity." In his life, he did just that.
