Moukawem

"Moukawem" (Resister) is a potent declaration of national pride and military defiance, specifically centered on the conflict in South Lebanon. The song serves as a narrative of victory against an occupying force (historically understood as Israel in the Lebanese context). Its central message is that true glory belongs to those who resist occupation, while the aggressor's might is rendered meaningless by the defender's will.

The lyrics explore the theme of uncompromising dignity. The phrase "We did not lean towards humiliation, we did not bargain" highlights a refusal to negotiate away sovereignty or honor, a core tenet of the resistance ideology. The song positions the "South" not just as a geographic location, but as a moral entity that "rose up" to rewrite history.

Furthermore, the song unifies the people under the banner of "people of determination" (Ahl al-Azm), suggesting that resistance is an inherent trait of the national character. It transforms the act of fighting from a necessity of war into a noble, historical duty that ensures the continuity of "glory in the homelands."

The song opens with a direct address to an adversary, declaring that their perceived glory has been permanently stained by humiliation and defeat. This shift occurred specifically when the "South" (referring to South Lebanon) rose up to resist occupation. The narrator asserts that the history of pride and refusal is wide awake, actively recording the epic battles fought on their land.

The lyrics proclaim the identity of the people as "people of determination" (Ahl al-Azm) who rise whenever resolve is called for. The narrator presents a vivid image of a sword raised in the heat of battle, standing firm in the face of death. The entire nation is described as a "resistance nation" that refuses to accept anything less than honor and noble virtues.

The song concludes with a powerful affirmation of steadfastness: they never leaned towards humiliation, nor did they ever bargain or compromise their principles. Instead, they achieved victory despite the aggression of the attacker. The final call is to the "free people" in all capitals of the world to witness how true glory is made eternal within the homelands through resistance and sacrifice.

"Moukawem" was released as part of Julia Boutros's 2012 album Yawman Ma (Someday). The song represents a significant collaboration in the landscape of Lebanese patriotic music. The music was composed by Julia's brother and long-time collaborator, Ziad Boutros, known for his stirring, martial-style compositions. The orchestral arrangement was handled by Michel Fadel, providing the song with its cinematic, epic scale.

Notably, the lyrics were written by Jawad Nasrallah, the son of the late Hezbollah leader Hassan Nasrallah. This collaboration underscored a message of cross-sectarian unity in Lebanon regarding the issue of resistance, as Julia Boutros is a Christian artist singing words penned by a figure from a Shiite political-military background. The song was created to honor the fighters and the populace of South Lebanon following years of conflict and the 2006 war, reinforcing the narrative of victory and resilience.

The song follows a monorhyme structure common in Arabic poetry (Qasidah style), where the end of each stanza maintains a consistent rhyme sound, specifically -im (e.g., Haza'im, Yuqawim, Na'im, Malahim). This repetition reinforces the sense of stability and unwavering resolve.

Rhythmically, the song is set in a march-like 4/4 meter with a strong downbeat, designed to evoke the feeling of a military procession or a national anthem. The tempo is moderate but heavy, giving weight to every word. The vocal rhythm strictly follows the musical beat, avoiding free improvisation (mawwal) to maintain the disciplined, collective feel of the anthem.

Musical Techniques: The song features a grand orchestral arrangement that is characteristic of Julia Boutros's patriotic repertoire. It utilizes a full symphony orchestra, including heavy percussion (timpani and snares) to create a military march rhythm. The melody is anthemic, built on strong, ascending intervals that mirror the lyrical theme of "rising up." Julia's vocal delivery is forceful and declamatory, emphasizing clarity and power over ornamentation.

Literary Techniques: The lyrics use direct address (apostrophe) in the opening line "Aaba Majdaka" (Your glory was tainted), immediately establishing a confrontational tone. The rhyme scheme is consistent, often ending in the "-im" or "-am" sound (Haza'im, Yuqawim, Na'im, Malahim), which creates a driving, rhythmic chant-like quality suitable for crowds. The use of collective nouns like "people," "nation," and "free people" universalizes the specific struggle into a broader human experience.

"Moukawem" has cemented Julia Boutros's status as "The Voice of the Resistance" in Lebanon and the wider Arab world. The song is frequently played at political rallies, national holidays (such as Liberation Day in Lebanon), and protests supporting the Palestinian cause.

Its lyrics, particularly the lines about refusing to bargain, have become slogans for political steadfastness. The song's performance at the Platea concert (2014) is particularly famous, where thousands of attendees sang the chorus in unison, demonstrating its deep penetration into the public consciousness. It stands alongside her other hits like "Ahibba'i" and "Ghabet Shams El Haq" as a pillar of modern Arab resistance music.

The lyrics employ sharp, martial imagery to convey strength and permanence.

• The South (Al-Janoub): While a literal region, it functions here as a metonym for resistance itself. It is personified as an entity that "wakes up" and "rises," acting as the protagonist of the story.
• The Sword: A classical symbol of Arab valor and warfare, the sword "standing in the face of death" represents the physical willingness to fight and the immediacy of the threat. It links modern resistance to historical Arab heroism.
• Glory vs. Humiliation: The song sets up a binary opposition. The enemy's glory is "tainted" (stained), while the homeland's glory becomes "everlasting." This metaphor of staining suggests that defeat in the face of resistance acts as a permanent mark of shame on the aggressor.
• Thorns and Epics: Implicit in the mention of "land of epics" (Malahim) is the idea of struggle and bloodshed, transforming the physical terrain into a mythical landscape where history is written.

The phrase "Aaba Majdaka" (Your glory was tainted) serves as the conceptual hook, challenging the enemy's narrative of superiority. Another key motif is "We did not bargain" (Lam Nusawim), which is a recurring political slogan in the resistance discourse, emphasizing that land and dignity are not for sale. Musically, the brass section provides a recurring fanfare motif between verses that acts as a call to attention, reinforcing the song's martial atmosphere.