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Downtown Beirut: A Sense of Disney
Thursday, February 15, 2007

I urge you to check out the excellent article by Miriam Cooke, titled "Beirut Reborn: The Political Aesthetics of Auto-Destruction," The Yale Journal of Criticism, volume 15, number 2 (2002), 393-424.

She does a brilliant job at discussing the translocation of the war and its memory into downtown Beirut, which has become the center of Hariri's economic terrorism.

She provides a very interesting, innovative (although by no means comprehensive and often innocently (?) ignorant of the real politics and economics of the "reconstruction") analysis and critique of the translocation and transformation of the narrative of the war (or the wish to erase the memory thereof) -- through urban architecture. I will quote some bits and pieces which I have arranged thematically, but I recommend that you read the whole thing to make more sense of what she is trying to convey.

The Narrative
Stories were written to make sense of the chaos, to stand witness and thereby create conditions for the construction of a moral memory. Narrativity, Hayden White writes, is “the impulse to moralize reality, that is, to identify it with the social system that is the source of any morality that we can imagine.” That is why war stories are told and also why their authority has been so policed. Some, like male combatants, will be authorized, others, like female civilians, will not.
"Mobilized Amnesia"
After 1990, the fiction of morality was even harder to sustain. A tension arose between the need to forget this war, this bad patch in Lebanese history, and the need to remember in order not to repeat. Between forgetting and remembering comes a moment of crisis in representation. Such moments, Donna Haraway writes, can be both numbing and empowering because when “historical narratives are in crisis . . . something powerful—and dangerous—is happening. Figuration is about resetting the stage for possible pasts and futures.” The aftermath of the Lebanese war, stretching from 1990 until today, has produced just such a powerful and dangerous discursive moment that will dictate how the stage can be reset for possible pasts and futures.
Political-Economic Power: A Defensive Shield
The survival of this financial artery through the Burj “front,” both in fact and in memory ... complicates the telling of a moral story. It suggests that even in a place that was represented as the epicenter of lethal chaos there was control, and further, that those who made sure their buildings were spared might have other forms of power. These are the details that some want to forget.
Engineering Forgetfulness
First of all the extent of the war must be reduced and contained, even as the official war memorial is placed elsewhere. If the Downtown were to be remembered as the place of the war—its front—it would compel attention to that particular place, and it alone, as the site of immorality. With time and in the absence of a counter-narrative, this translocation of the war may succeed despite the fact that it was generally known that the Downtown was merely a stage on which confessional enmities were spectacularized while the real fighting happened elsewhere.
Silencing Collective Memories
If all the anarchy can be identified with this one location, it can be made to bear all the history.

The key then is to shape that history, transform it so that it will be useful and not continue to harbor unpredictable collective memories.
OGER & Solidere
The first level of destruction after the outbreak of violence was demolition work. Saree Makdisi writes that it is now known that between 1983 and 1992 there were cycles of demolitions in the Downtown, many of them unnecessary. The first demolitions were conducted in 1983 by Rafik Hariri’s engineering company, OGER. The pretext was to clean up the mess to enable reconstruction. The process “involved the destruction of some of the district’s most significant surviving buildings and structures . . . in total disregard for the then-existing (1977) plan for reconstruction, which had specifically called for the rehabilitation of those areas of the city center.” In 1984 fighting flared up again and destruction continued by other means.Two years later, a temporary calm allowed OGER to resume the demolition work they had started in 1983. In 1992, the year Hariri was first elected Prime Minister, the government called for further demolitions.
"A Sense of Disney"
The visitor to the new Downtown is struck first of all by a sense of Disney, or Epcot. SOLIDERE has created generic Arab Mediterranean facades. [The Master Plan] describes the Saifi and Jmaizi districts, the brand new pastel housing blocks, as “restored Levantine vernacular . . . carefully integrated.” [It] calls Saifi an “urban village” and although construction is clearly new, the Plan vaunts the “large number of existing buildings that have been retained.” The buildings in this formerly working class area resemble their antecedents. But not quite. And it is this “not quite” that is so important because it serves to cloud the memory. The slick lines and surfaces of housing blocks targeting the wealthy middle classes cannot harbor the unpredictable collective memories that lurked in the thick green of the weedchoked Downtown ruins.
Profit Without Guilt
SOLIDERE promised a return, a reversion to a pre-war past ... The promised return capitalizes on nostalgia for communal harmony and desire for profit without guilt or memory, in the hope that the repressed will not return.
"A Land Without a People for a People Without a Land"
SOLIDERE, too, is using the instrumentalities of the civil war to displace it from the country and scattered locations of its capital to the site of the Downtown and then elsewhere. It is erasing its traces by drowning them. SOLIDERE has bulldozed the debris into the sea, and is using the ruins to build a new foundation that no one can claim because the sea does not belong to anyone. According to Edward Said, the new colonizer claims, names, and inhabits the land said to be empty. The occupied land can then appear to be productive of culture. The new Downtown has been made to absorb the history of the war and in the process it has emptied it of meaning.
Resisting the Memory of the Forgotten
SOLIDERE’s inflated claims for a glorious history for the Downtown glosses over the war that is finished, and prepares a vision for a brilliant global future that will owe its regeneration to SOLIDERE ... It revives the regional past (Phoenician and Greek) to erase the local past (the war) and to launch this new Beirut into a global future. The war is over. A monument to a conventional (hence, moral) war has been built and installed somewhere in the mountains. The traces will soon be gone. It will no longer matter who was responsible for the war nor why it was fought.

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posted by Angry Anarchist @ 2/15/2007 06:56:00 PM, ,