Is a Cultural Policy Possible in Lebanon? (2/2)

In a previous article, we noted that despite the succession of crises that have beset Lebanon, the country’s artistic scene has continued to display remarkable resilience, both at home and abroad. Exhibitions, festivals, gallery openings, new institutions and heritage initiatives: art and culture linked to Lebanon have never entirely disappeared, despite formidable challenges. On the contrary, they now appear to be regaining momentum, contributing to the emergence of a form of cultural diplomacy on the international stage and offering a glimpse of what could become a distinct cultural policy for the Land of the Cedars.

But can this truly be described as a cultural policy? The question is worth asking at a time when Lebanon’s Ministry of Culture is stepping up its efforts and signaling its intention to reposition culture as a vital sector in the country’s development.

Broadly speaking, a cultural policy encompasses the measures adopted by public authorities to support artistic creation, safeguard heritage, widen access to culture, foster inclusion and ensure a degree of territorial equity. It requires a coherent national vision, as well as mechanisms capable of sustaining cultural action over the long term.

Yet a closer look at Lebanon’s current cultural landscape reveals a striking reality: much is happening, but most initiatives remain concentrated in Beirut. This centralization should not, however, overshadow the renewed dynamism emerging in the country. The reopening of the Empire Cinema in Tripoli, for example, is a significant development in this regard. Beyond restoring a cultural venue, it is helping to revive a piece of the city’s collective memory and reclame the place Tripoli once held in the history of Lebanese cinema.

Other initiatives also reflect the revival of cultural activity beyond Beirut. In Zahle, the planned museum dedicated to Saïd Akl reflects a broader effort to strengthen cultural infrastructure across the country. In Tyre, the restoration of former cinemas, such as the Rivoli, is helping to recreate spaces for social. interaction and dialogue – an important development in a context still marked by the traumas of recent conflicts.

In the Chouf, heritage projects centered on Deir el-Qamar and Beiteddine, alongside the growth of artists’ residencies, are likewise contributing to a stronger cultural presence throughout the country. The same can be said of the festivals held across Lebanon: Byblos, Cedars, Jounieh, Baalbeck and Beiteddine. While these initiatives are sometimes more fragmented and less visible than those taking place in Beirut, they serve as a reminder that Lebanon’s cultural vitality extends far beyond the capital.

Building a Cultural Ecosystem

Despite these efforts at decentralization, the country’s main exhibition venues, major cultural institutions and most funding remain concentrated in Beirut. New galleries continue to open, institutions are being restructured, and others are gradually resuming their activities. Recent examples include the Beirut Cinematheque, Cinema Metropolis and, soon, the Grand Theatre of Beirut. At the same time, the Ministry of Culture has revived a number of events and heritage-related projects.

Yet the issues raised over the past several years – many of them identified in reports issued by the Ministry of Culture itself – remain as relevant as ever. How can one speak of a genuine national cultural policy when problems relating to transportation, cultural mediation, language barriers and access to the regions remain largely unaddressed?

It may be worth approaching the situation from a different angle. The same recent reports from the Ministry of Culture – particularly those devoted to the cultural and creative industries and the Visual Arts Forum – suggest that the current objective may not yet be about establishing a conventional cultural policy, but rather a strategic approach. The priority appears to lie elsewhere: building the foundations of a genuine cultural ecosystem capable of becoming a full-fledged player in the cultural economy.

The challenge is to turn the resilience of artists and cultural institutions into sustainable development, jobs and economic growth. Yet this ambition also reveals a reality that is often overlooked: the problem facing Lebanon’s cultural sector is not a lack of actors, since structures already exist. In the field of visual arts, for instance, the Association of Lebanese Painters and Sculptors, as well as the Syndicate of Visual Artists, are officially recognized. And yet many artists are unaware of how they function, or even of their existence. The issue, then, is not so much the absence of organizations, but rather their limited visibility, their low level of activity, or their difficulty in bringing the profession together.

A Shortage of Support

This issue also arises in the music and performing arts sector. Many Lebanese musicians and singers now choose to deposit or register their works with France’s SACEM, for instance, rather than rely on existing mechanisms in Lebanon. This often reflects a lack of information, but also the limited visibility of local systems for protecting and managing rights.

More broadly, Lebanon’s cultural sector suffers from a shortage of support in the field of intellectual property. While France has well-established bodies such as SACEM for authors and composers, SACD for playwrights and audiovisual creators, SPEDIDAM for performing artists, and INPI for industrial property matters, their Lebanese counterparts remain largely unknown to the public and sometimes even to professionals in the sector. Lebanon does, however, have an Intellectual Property Office attached to the Ministry of Economy, responsible for copyright, trademarks and patents. The challenge therefore lies less in the complete absence of such mechanisms than in their visibility, accessibility and uptake by cultural actors themselves.

The situation is similar when it comes to the professional status of artists. Many work without contracts, social protection or a clear understanding of their rights. Issues related to intellectual property, copyright and legal protection mechanisms often remain poorly understood. Many Lebanese artists face difficulties abroad simply due to a limited legal knowledge or a poor understanding of intellectual property frameworks – situations that could often have been avoided through better training.

Recent reports have highlighted a number of issues: the absence of professional status for artists; a lack of coordination between institutions; insufficient funding mechanisms; difficulties related to heritage protection; and the excessive centralization of cultural activity. They also set out a number of concrete measures: strengthening existing organizations; training professionals; safeguarding archives; supporting creation; developing the cultural and creative industries; and improving the legal recognition of actors in the sector.

This is why the professionalization of the sector now appears to be a key priority. Training artists in their rights, as well as training cultural professionals in the realities of the sector, has become essential. In this regard, several initiatives already exist. Among them, the Master’s program in event management at Saint Joseph University – the only one of its kind in Lebanon – contributes to the training of future cultural professionals by covering project management, cultural management, mediation, communication, and broader cultural policy issues.

Similarly, ESA Business School offers programs in cultural management and arts administration that also cover legal, contractual and cultural economics dimensions.

Culture Back in Motion

This is essential. Beyond artistic creation, there is also a need to train those who will one day build the institutions, projects and frameworks capable of sustainably supporting the sector’s development. This vision also aligns with the approach currently being promoted by the Minister of Culture, Ghassan Salamé, who is seeking to restore culture to a central place in the country’s reconstruction agenda, both within Lebanon and across the diaspora and among international partners. The foundations are therefore already in place.

What is emerging today is less a fully developed cultural policy than a strategy aimed at structuring a sector that has long been driven almost exclusively by the commitment and resilience of those involved. A genuine cultural policy may come later. It will likely not follow a European or French model but rather take shape in a form adapted to Lebanon’s institutional realities, its diversity, and the essential role played by private, associative and academic initiatives.

One thing is nevertheless certain: culture is once again in motion in Lebanon. And while artists must continue to create, it is equally important to train those who will be responsible for organizing, mediating, managing and transmitting this culture in the future. For the rebuilding of a sustainable cultural sector depends as much on artistic output as on the structures that allow it to exist and endure.

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Lebanese cultural diplomacy: between influence, solidarity and resistance (1/2)