
by MEHMET FAHRI DANIŞ dailysabah.com — Music often becomes a uniting element for nations whose citizens have very little in common: Editf Piaf in France, Elvis Presley in the U.S. and Lys Assia in Sweden. In the case of Lebanon, Fairuz – or Nouhad Haddad by her birth name – holds a very special place as she is equally embraced by the country’s multicultural society. The existence of the phenomenon of the nation is closely related to the presence of symbolic motifs that claim to represent it. What makes a community a nation is mostly these symbolic productions that its members unwittingly confirm and participate in producing every day. National anthems and flags, heroes, “sacred” landscapes, national architecture, national cuisines and tourist brochures all contain the archaic emphasis of nationalist movements’ attempts to construct links with the past.
‘The national symbol’
National symbols allow members of communities to feel like part of the national consciousness. Efforts to maintain ties to this consciousness through popular culture are also made – for example, a company identified with a country and is universally known, national athletes competing in the Olympic games or artists representing their country in musical contests. Today, these can serve as more effective tools for emphasizing national consciousness than an antiquated anthem or national flag. When it comes to Lebanon, the cedar tree motif, a symbol of national character, is an excellent example of a nationalist symbol. Used on the first Lebanese flag designed during the mandate rule established in 1920 and in the flag of independent Lebanon in 1943, this figure serves a symbolic function that links the Lebanese with the Phoenicians on the basis of territorial identity. Another symbol for the country as important as the cedar tree is Fairuz, who began her artistic career during the 1950s.
Fairuz’s career














