The Arab Icon: Fairouz’s Legacy
Over seventy years of a soaring career, Fairouz’s work has redefined music and her name has secured a place in history books (“Fairuz”). Born and raised in Lebanon, the iconic singer has often expressed her devotion towards her hometown and culture. Thanks to the Rahbani brothers1, Fairouz’s songs prevailed the Arabic world, plastering her legacy on every street of every city (“Fairuz”). Classical Arabic tunes have always influenced her music, using the Oud2 and Ney3, she has never shied away from voicing her opinions and celebrating her roots. Although she has worked with the Rahbani brothers for most of her career, her latest album, “Bebalee,” introduced in 2017, took a separate route. Impacted by western melodies, Fairouz dedicates “Babalee” to a home that is too tarnished to return to, but still remains. Fairouz’s brazen decision to create music that unveils a hidden part of her prompted a significant response in the Arab world.
Produced by her daughter Rima Rahbani, the album covers a collection of international songs that inspired Fairouz throughout her profession (Saeed, 1). The subtle painting of the artist’s side profile on the cover anticipates a work which narrates Fairouz’s personality (Fig. 1). Painted by Leila Musfy, a professor of design at the American University of Beirut (Prof. Leila Musfy, 1), the art style shows a fading image of the artist expressing a lost sense of self. Musfy has participated in diverse projects including corporate identity programs for the Order of Engineers. She has also developed books and publications, which earned her a prominent name in the Arab world (Prof. Leila Musfy, 1). She is engaged in studying the kin between Latin and Arabic typography and its connection to heritage (Prof. Leila Musfy, 1). Musfy’s interest indicates why she decided to work on Fairouz’s album as every song seizes inspiration from foreign music, linking two identities. “Bebalee” joins different cultures, combining Arabic lyrics with western instruments to create an integrated artwork. The album cover employs broad brush strokes forming a smoke-like effect of Fairouz, as if she is fading away. With a minimal dull background, the pop of golden-yellow stands out, portraying the singer as the icon she has always been. Musfy writes both the album title and Fairouz’s name in Arabic calligraphy and translates them into English. “Bebalee” harbors ten songs which relate to Fairouz’s identity, and her experiences with moving to another country. With the bold decision to separate herself from the Rahbani brothers, it is apparent that Fairouz desired to rewrite her name in her distinctive style. The album received criticism for covering western songs, yet Fairouz created something that belongs to her (Saeed, 1). Using instruments such as the guitar and piano, the melody flows as liberally as the brush strokes on the cover. Every song narrates Fairouz’s personal life, her struggles with fame, and her relationship with Lebanon. “Bebalee” introduces us to a part of Fairouz that has always been secreted, utilizing both minimal art and gentle music.
To elaborate further on the album and its significance, it’s important to present two songs that describe the theme. The fourth song titled “Ma Tezaal Mennee,” “Don’t Get Angry at Me,” recaps an emotional conversation between the singer and her hometown. As she mourns over the past, she pleads for her country’s pardon, reassuring the world, and herself, that she has never abandoned her roots. It is a sentimental song that makes you feel as if you are intruding in a personal conversation, but to those who have left their war-torn countries, it is a talk we have had before. Like the other songs, “Ma Tezaal Mennee” has a sad undertone, with a steady tune harmonizing with Fairouz’s angelic voice. The next song worth mentioning, titled “Baytee Zgheer” (“My Small House”), illustrates Fairouz’s home in Canada, describing the mundane things such as the trees and neighbors. The smooth melody develops quietude, with a nostalgic subtext. Like most of her work on this album, both songs manage to establish a subtle image of Fairouz, which suits the cover art. “Bebalee” creates warmth, a sense of ease that Fairouz has always sought after. The cover art anticipates an album that is revolved around the Fairouz who exists in two cities, here and there. Instead of her usual album covers with her entire face, the side profile expresses her hidden identity, linking the sly brush strokes to the gentle flow of music.
My mother introduced me to this album in 2017 shortly after its release. I grew up with Fairouz’s voice waking me up in the mornings, and rocking me to sleep at night. Her music inhibited every home we moved to as she symbolizes the good in our country. I listened to her latest album anticipating Fairouz’s trademark tunes; however, she surprised me with a different style. She detached herself from the thick Arabic instruments, and opted for gradual melodies inspired by western music. I moved to Canada in 2017, so I felt as if Fairouz was addressing me in her album. It was tough abandoning a home that has embraced me for 18 years, but I knew that I was never leaving. “Bebalee” not only paints an authentic picture of Fairouz, but also illustrates every Arab who has left a torn home. Fairouz talks to us, she assures us that we will return.
Works Cited“Arabic Musical Instruments”, Wikipedia, March 05 2021,https://en.wikipedia.org/wiki/Arabic_musical_instrumentsProf. Leila Musfy, https://granshancairo2016.dryfta.com/speakers/users/detail/949/leila-musfy“Rahbani Brothers”, Wikipedia, March 08 2021, https://en.wikipedia.org/wiki/Rahbani_brothersSaeed, “Fairuz's new album Bebalee is a quiet statement of rebellion”, The National, October 05,2017, https://www.thenationalnews.com/arts-culture/music/fairuz-s-new-album-bebaleeis-a-quiet-statement-of-rebellion-1.664522