Every time I have approached writing for the past twelve months, I have consumed that time in writing and editing a very long, and very technical project proposal. It has embedded in me the need to peel off the veil of mystery—of not knowing what i am writing about before writing it—at the beginning. In those twelve months, my encounters and landscapes underwent major shifts. I had moved back to Lebanon after spending two years outside the country. I was experimenting with hardcore institution building, something I dealt with in my previous work as hints and gestures much more than infrastructure.I had an opportunity to collaborate with a major political party to design alternative/parallel modes of conduct for their work in my hometown of Tripoli, north of the country. And in parallel, I was approaching cultural institutions for potential collaborations with The Khan, my newly registered NGO for a [perhaps] more nuanced toolkit for political work, nested in the established shadow of art funding.
In both cases, my audience needed to know, right away, what I would like to say, and what I am proposing, before I propose it more eloquently, more clearly, in the “pages that follow”.
Read this text on the January 2019 edition of Interventions / Contemporary Theatre Review