Félicitations à ceux et celles qui ont réussi aux concours de médecine générale/médecine dentaire de Janvier 2020 à l’université Saint-Joseph de Beyrouth. Taux de réussite des étudiants qui ont suivi des cours de culture générale: 88% – – le plus élevé depuis 2012.
La seconde session des concours aura lieu en été! Il n’est jamais trop tard pour mieux se préparer. Les cours particuliers de culture générale seront dispensés dès la mi-mars 2020 à Mansourieh. Les cours en ligne sont aussi disponibles. Contactez Dr. Pamela Chrabieh pour plus d’informations: +9613008245. Les places sont limitées.
Concours des Facultés de Médecine Générale, Médecine Dentaire, Pharmacie, Nutrition, et de l’ESIB. ** Le test de culture générale – dont le coefficient est le plus élevé – nécessite une préparation adaptée aux besoins de chaque étudiant, d’où l’importance d’un suivi personnalisé.
Glad to be part of this amazing project – – Certificate of Study in the Historical and Religious Reality of the Middle East – “Caravan” Project of the Order of Malta with German students, at the Faculty of Religious Sciences, Saint Joseph University, Beirut-Lebanon, February 2020.
Expertise : Intensive course on Challenges, Opportunities, and Praxis of Interreligious Dialogue in the Middle East: The Case of Lebanon.
Cafcaw Executive Committee Meeting in Ayia Napa – Cyprus, January 3 to 5, 2020.
Planning for the 2020 Conference, training programs, research projects and workshops, towards Inclusive Societies in Western Asia. With Drs. Mitri Raheb, Nicolas Abou Mrad, Pamela Chrabieh, Inas Deeb and Mary Mikhael.
Interview: Pamela Chrabieh Luca Curci talks with Pamela Chrabieh during ANIMA AMUNDI FESTIVAL 2019 – VISIONS at Palazzo Ca’ Zanardi.
Pamela Chrabieh is a Lebanese & Canadian Doctor in Sciences of Religions, scholar, visual artist, activist, university professor, writer and consultant. She has exhibited her artworks in Canada, Lebanon, the United Arab Emirates and Italy, and has organized and participated in art workshops and art therapy sessions in North America, Europe and Western Asia. She was selected as one of the 100 most influential women in Lebanon in 2013, and won several national and regional prizes in Canada and the United Arab Emirates.
Luca Curci – What’s your background? What is the experience that has influenced your work the most? Pamela Chrabieh – I was born and raised in the 1970s-1980s war in Lebanon. Growing up in war left me with a thirst to discover the truth behind the endless years spent in shelters and displacement, the survival techniques I learned, such as how to avoid snipers and land mines, the suffering following the destruction of our houses and the horrific deaths of loved ones, the fascination with war games I used to play, and the hours spent with my parents trying to look for bread. War has definitely marked my identity, world vision, and visual expression, but also my journeys and experiences at the crossroads of several countries, cultures and religions.
LC – Which subject are you working on? PC – Mainly, war and peace as a general subject. Sub-subjects include: Dialogue, Human Rights, Gender Equality, Freedom of Expression, Cultural interpenetrations, Inclusion, etc.
LC – What is your creative process like? PC – My visual art accompanies my writing, is influenced by it and influences it. And both creative journeys are closely linked to my personal experiences. These experiences should be powerful enough to push me to express myself me such as violence, separation, exile or death. I rarely produce content when I’m going through a status quo. And I rarely follow a strict path to create combinations of words, forms, colors and energies. Emotions and ideas progressively intermingle, and ultimately incarnate. I don’t see the creative journey as a series of specific steps set in stone, from preparation to implementation, but a multilevel construction, deconstruction and reconstruction of mental, physical and spiritual dynamics. LC – Are your artworks focused on a specific theme? PC – My artworks are a certain reflection of my journey as a resilient human being, a war survivor who is relentlessly searching for inner peace and peace with others, so that the vicious cycle of war breaks.
LC – How is being an artist nowadays? PC – As I see it, being an artist nowadays is being (or should be about being) engaged in the production and dissemination of counter-cultures facing hegemonic cultures. It’s also being kind of a neo-renaissance human being, actively participating in building bridges across cultures and working towards more inclusive societies. Beyond a mere profession or a simple expression of one’s emotions, making art is and should be about living it and creating connections through it.
LC – Do you agree with our vision of art and what do you think about the theme of the festival? PC – Definitely, and as previously mentioned, it is at the heart of my approach and quest. Anima Mundi symbolizes connections between cultures and religions; the contemporary and the traditional; the physical and the mental; the visible and the invisible; the past, present, and future; the logos (word) and the eikon (image); humanity, the natural and the spiritual, etc.
LC – What is the message linked to the artwork you have shown in this exhibition? How is it connected to the theme of the entire festival? PC – War disconnects lives, memories, and experiences by creating endless cycles of violence, murderous identities, and wounded memories. I have come to believe that these memories are inevitably transmitted from generation to generation in private and public spaces, and that socio-political conviviality and peace need both individual and national healing processes. Or else, the load of traumas that we carry will prevail, fueled by the continuous local and regional crises and State-sponsored amnesia. Contrary to war, peace is the art of connecting. It is a continuous process encompassing historical subjectivities and energies in interpenetrative modes; a process of interacting dynamics, fragmented and common truths, voices, paths, and pathos. A Duwama (spiral or vortex) is a visualization of this peacebuilding process. It symbolizes life versus death, positive movement towards the manifestation of connections, and therefore, towards forgiveness, healing, and conviviality. Every one of my Duwamas is a story of transformation, from a shattered and disconnected situation, event, emotion or experience, to a connected realm.
LC – What do you think about ITSLIQUID Platform? PC – It’s a platform that translates across diverse channels and contributes to transnational creative communication. It pushes the envelope and helps artists who think outside the box connect and discover the richness of their differences.
LC – Did you enjoy cooperating with us? PC – Yes, and I hope we will pursue this cooperation.
Much has been said about social responsibility in the last two to three decades, and many non-governmental organizations have created programs and organized youth camps in the Arab world to encourage individuals and groups to act for the benefit of society at large. However, ongoing political disorder, wars, and economic crises in several countries have contributed to the implementation of national security-based strategies, whereas any society’s survival depends on a social responsibility strategy, and this strategy should include peace education.
Peace education encompasses a variety of pedagogical approaches within formal curricula in schools and universities, and non-formal popular education projects. It aims to cultivate the knowledge and practices of a culture of peace, and plays an important role in individual and collective mindset changes.
Unfortunately, most academic curricula in the Arab world do not offer peace education courses, and little attention has been paid so far to the inclusion of peace programs in universities — they are considered to be low priorities.
In addition, many avoid giving too much attention and too many resources to Peace Studies programs out of fear that they may become politicized. The emphasis is usually placed on subjects considered to be tangible and have practical value for competition in the local, regional, and global marketplaces.
Peace education’s advantages are numerous:
It develops cultural awareness and effective communication strategies in intercultural/interreligious settings,
It leads to increased and differentiated understandings of cultures and a desire to expand one’s own knowledge of cultural customs, concepts, and values,
It helps deconstruct stereotypes and fight against xenophobia, discrimination, and ethnocentrism,
It helps the youth to reflect on the subjectivity of their own thoughts and language as they learn to step outside boundaries and develop more critical thinking,
It helps students to understand and experience unity in human diversity.
I have developed my own peace education approach and applied it in universities in Lebanon and the United Arab Emirates with thousands of students from 2007 to 2018. The results of my research were published in several books and academic journals, proving the positive impact of peace education.
The basis of this educational approach is dialogue, which is not used as a mere technique to achieve some cognitive results, but to transform social relations. Through interactive practices and an emphasis on cooperation, students are provided with space in which they can undergo constructive analysis, build bridges, and develop a sense of national inclusive belonging.
Nonetheless, peace education faces many challenges and obstacles in our region, starting with the context itself that makes it hard to disseminate — such as the context of continuous physical and psychological wars in Lebanon, Palestine, Syria, Iraq,…
Furthermore, it still is a socially isolated affair. For peace education to have a large-scale impact, there are many conditions that need to be fulfilled, such as support from private institutions and public authorities, sustained interaction between students and their professors, interdependence in completing common tasks, etc.
In the context of both formal and non-formal education, funding for projects and their sustainability are two major challenges. Only elite schools and universities can offer sufficiently long training and the much needed follow-up support as inequalities and discrimination are a major challenge. In fact, they do not disappear when the classroom doors close or when they open again; students may continue pursuing opposing agendas, especially when they have unsupportive home environments.
Even when they are equipped with a new way of perceiving themselves and the “others”, the students enter into a collision course with their social surroundings and their “unquestionable truths” through their homes, neighborhoods, sectarian communities, political parties, and the media. In my opinion, peace education should be considered a public good and, as such, should be offered as a free service to all.
Youth represent the largest group in the region, and they are exposed to an increasing number of vulnerabilities, threats, and challenges. The lack of economic, educational, and leadership opportunities limits the youth’s full potential for contribution to their families and communities, and for sustainable development and peace.
Facing these challenges requires investment in youth education, active participation, visibility and empowerment. Such investment must target youth from all cultural and religious backgrounds, including young people from disparate communities, as well as young people with disabilities and vulnerable or marginalized youth.
Clearly, this investment will not be a waste, for a culture of peace is needed to build prosperous countries and inclusive societies, and this culture is not an unattainable ideal. It is a culture we can make, embody, and share.
By, Dr. Pamela Chrabieh, Director of SPNC Learning & Communication Expertise, University Professor, & Visual Artist.