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Mouneh-Making in Times of War
On an early September morning, a precarious calm reigns over Hebbariyeh, a southern Lebanese village that lies on the southwest foot of Mount Hermon, a mountain range that straddles Lebanon, Syria and occupied Palestine. It’s a region known for its olive orchards, and its fig, pine and oak trees.
Montaha is preparing makdous from her pink, ground-floor house. It’s a traditional Levantine preserve made of tender, small-sized eggplants. It’s their season. She does this work while keeping all the doors and windows open. It prevents them from shattering, she says. Israel has been frequently bombarding her village.
The war has affected her ability to sell her products, which have been the source of her livelihood since her late husband fell ill. It allows her to support herself and her family while maintaining her autonomy.
As she stuffs the makdous with red pepper, chili, walnuts, and garlic, her eyes hold back unshed tears. Behind her on the shelf, next to jars of makdous submerged in olive oil among many other hand-made preserves, sits a photograph of a young man. It’s Farouk, her twenty-year old son, a paramedic who Israel killed earlier in March.
She tells me that Farouk used to help her distill the rose water – a slow and long process that requires rotating shifts. She’d work during the day, and he would take over during the evenings. Now, she is alone. He only pays her visits in her dreams.

Mouneh preparations – the craft of preserving our lands’ generous offerings in jars: from eggplants and other legumes, to fruits, grains, dairy and many other produce—demands hard work and plenty of patience. It is an antidote to today’s unsustainable, fast-paced world that seeks instant gratification and immediate results.
“We work during summers to save for winters; this is the life of a farmer” she says. During spring, summer and autumn, in- season, abundant produce is preserved for later use, ensuring there is access to enough food to withstand winters.
This practice, which can be traced back to the time when humans transitioned from hunting and gathering to farming, was a radical leap forward in human progress. A nomadic way of life was lost to the emergence of sedentary agrarian communities: early farmers permanently settled in one place, learned to plant, grow and harvest crops by observing nature and aligning themselves with its cycles.
When enough food began to be cultivated for immediate consumption, storing the surplus became possible, and this protected people from the scarcity that would mainly result from seasonal changes, as well as other uncertainties such as wars.
Hasna, or ‘Umm Rabih’ as she refers to herself, which translates into ‘Mother of Rabih’, a name that means ‘Spring’ in reference to her eldest son, works on her mouneh from April through November. She learned it from her mother.
Her house in Chebaa, which is less than 10 km from Hebbariyeh, sits right on the border between Lebanon and occupied Palestine. She can see the Israeli radar site on top of a hill overlooking her window while she uses her hands to roll thick and creamy yogurt into smooth balls that she will soak in jars of olive oil, commonly referred to as labne mkaazale, with the support of her neighbor Aisha, and two other women.
We are more than neighbors, we are sisters”, she tells me, emphasizing the value of kinship and community. ‘’It is very precious to see you here,” she adds. This is our first encounter after I contacted her two days earlier for an interview. She continues, “Here, we are used to each other, but this year, we couldn’t unite with our relatives and loved ones … now we can rarely leave the house because of the bombing.

Her neighbor tried to get to his land to check on his crops, she says, but due to Israel’s persistent shelling, he was forced to leave. Now, he can no longer access it, and the season was inevitably lost. Shrapnel from a nearby Israeli attack also struck her home while she was working on her mouneh. “We got scared”, she continues, “but we kept on working. We have commitments with the shepherds we buy goat milk from”.
These collective ties, agricultural practices, and all the knowledge surrounding mouneh-making, were born of the Levantine people’s interrelationship with the land: the resources, ecosystems, and the millennia-old accumulation of observations and experiences that stemmed from it.
It is believed that the world’s first attempts at farming, and ensuing practices of preserving food, originated right here, in the Levant, on the eastern shores of the Mediterranean. This region is known for its fertility and its four distinct seasons, spanning across present-day Lebanon, Palestine, Syria, Iraq and Jordan. In this specific geography, our ancestors’ interaction with their natural environment gave rise to a distinguished society with a system of agricultural and ecological knowledge that evolved over the course of thousands of years, passed down and shaped by various civilizations.
“Our ancestors were farmers and they prepared mouneh that would last a whole year. They didn’t have refrigerators back then”, says Naima from Houla, a village situated in the southern Bint Jbeil district, further West, where a couple of natural reserves have been established. Houla has been relentlessly subjected to Israeli strikes, forcing its inhabitants to temporarily relocate. Naima left Houla for Chakra, where she is now staying with her relatives. Since then, her home was completely destroyed.
The atmosphere of war in that part of the South is more intense than in Hebbariyeh and Chebaa. The sounds of surrounding bombardments are loud and heavy. Naima picks up on my unease. She stares at me and tells me there is nothing to worry about, mocking the fact that 60 missiles flew over her head last time while she was drying burghul (cracked wheat) on the rooftop of her temporary home. She will use some of it to make keshek, a fermented dairy preserve made of burghul and yogurt, especially suitable to be eaten during cold winter weather. “We need to work to eat. We don’t want to have to rely on anyone to feed us”, she tells me. After a shared moment of silence, she continues, “What, are we stronger than the Palestinians? There are no people as powerful as them”.
Naima asks me not to take too long before visiting again, and that she will be preparing kebbet adas next time we meet. It’s a dish made of lentils and burghul.

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{
"article":
{
"title" : "Mouneh-Making in Times of War",
"author" : "Sarah Sinno",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/mouneh-making-in-times-of-war",
"date" : "2025-02-04 15:33:00 -0500",
"img" : "https://everythingispolitical.com/uploads/mouneh-thumb.jpg",
"excerpt" : "On an early September morning, a precarious calm reigns over Hebbariyeh, a southern Lebanese village that lies on the southwest foot of Mount Hermon, a mountain range that straddles Lebanon, Syria and occupied Palestine. It’s a region known for its olive orchards, and its fig, pine and oak trees.",
"content" : "On an early September morning, a precarious calm reigns over Hebbariyeh, a southern Lebanese village that lies on the southwest foot of Mount Hermon, a mountain range that straddles Lebanon, Syria and occupied Palestine. It’s a region known for its olive orchards, and its fig, pine and oak trees.Montaha is preparing makdous from her pink, ground-floor house. It’s a traditional Levantine preserve made of tender, small-sized eggplants. It’s their season. She does this work while keeping all the doors and windows open. It prevents them from shattering, she says. Israel has been frequently bombarding her village.The war has affected her ability to sell her products, which have been the source of her livelihood since her late husband fell ill. It allows her to support herself and her family while maintaining her autonomy.As she stuffs the makdous with red pepper, chili, walnuts, and garlic, her eyes hold back unshed tears. Behind her on the shelf, next to jars of makdous submerged in olive oil among many other hand-made preserves, sits a photograph of a young man. It’s Farouk, her twenty-year old son, a paramedic who Israel killed earlier in March.She tells me that Farouk used to help her distill the rose water – a slow and long process that requires rotating shifts. She’d work during the day, and he would take over during the evenings. Now, she is alone. He only pays her visits in her dreams.Mouneh preparations – the craft of preserving our lands’ generous offerings in jars: from eggplants and other legumes, to fruits, grains, dairy and many other produce—demands hard work and plenty of patience. It is an antidote to today’s unsustainable, fast-paced world that seeks instant gratification and immediate results.“We work during summers to save for winters; this is the life of a farmer” she says. During spring, summer and autumn, in- season, abundant produce is preserved for later use, ensuring there is access to enough food to withstand winters.This practice, which can be traced back to the time when humans transitioned from hunting and gathering to farming, was a radical leap forward in human progress. A nomadic way of life was lost to the emergence of sedentary agrarian communities: early farmers permanently settled in one place, learned to plant, grow and harvest crops by observing nature and aligning themselves with its cycles.When enough food began to be cultivated for immediate consumption, storing the surplus became possible, and this protected people from the scarcity that would mainly result from seasonal changes, as well as other uncertainties such as wars.Hasna, or ‘Umm Rabih’ as she refers to herself, which translates into ‘Mother of Rabih’, a name that means ‘Spring’ in reference to her eldest son, works on her mouneh from April through November. She learned it from her mother.Her house in Chebaa, which is less than 10 km from Hebbariyeh, sits right on the border between Lebanon and occupied Palestine. She can see the Israeli radar site on top of a hill overlooking her window while she uses her hands to roll thick and creamy yogurt into smooth balls that she will soak in jars of olive oil, commonly referred to as labne mkaazale, with the support of her neighbor Aisha, and two other women.We are more than neighbors, we are sisters”, she tells me, emphasizing the value of kinship and community. ‘’It is very precious to see you here,” she adds. This is our first encounter after I contacted her two days earlier for an interview. She continues, “Here, we are used to each other, but this year, we couldn’t unite with our relatives and loved ones … now we can rarely leave the house because of the bombing.Her neighbor tried to get to his land to check on his crops, she says, but due to Israel’s persistent shelling, he was forced to leave. Now, he can no longer access it, and the season was inevitably lost. Shrapnel from a nearby Israeli attack also struck her home while she was working on her mouneh. “We got scared”, she continues, “but we kept on working. We have commitments with the shepherds we buy goat milk from”.These collective ties, agricultural practices, and all the knowledge surrounding mouneh-making, were born of the Levantine people’s interrelationship with the land: the resources, ecosystems, and the millennia-old accumulation of observations and experiences that stemmed from it.It is believed that the world’s first attempts at farming, and ensuing practices of preserving food, originated right here, in the Levant, on the eastern shores of the Mediterranean. This region is known for its fertility and its four distinct seasons, spanning across present-day Lebanon, Palestine, Syria, Iraq and Jordan. In this specific geography, our ancestors’ interaction with their natural environment gave rise to a distinguished society with a system of agricultural and ecological knowledge that evolved over the course of thousands of years, passed down and shaped by various civilizations.“Our ancestors were farmers and they prepared mouneh that would last a whole year. They didn’t have refrigerators back then”, says Naima from Houla, a village situated in the southern Bint Jbeil district, further West, where a couple of natural reserves have been established. Houla has been relentlessly subjected to Israeli strikes, forcing its inhabitants to temporarily relocate. Naima left Houla for Chakra, where she is now staying with her relatives. Since then, her home was completely destroyed.The atmosphere of war in that part of the South is more intense than in Hebbariyeh and Chebaa. The sounds of surrounding bombardments are loud and heavy. Naima picks up on my unease. She stares at me and tells me there is nothing to worry about, mocking the fact that 60 missiles flew over her head last time while she was drying burghul (cracked wheat) on the rooftop of her temporary home. She will use some of it to make keshek, a fermented dairy preserve made of burghul and yogurt, especially suitable to be eaten during cold winter weather. “We need to work to eat. We don’t want to have to rely on anyone to feed us”, she tells me. After a shared moment of silence, she continues, “What, are we stronger than the Palestinians? There are no people as powerful as them”.Naima asks me not to take too long before visiting again, and that she will be preparing kebbet adas next time we meet. It’s a dish made of lentils and burghul."
}
,
"relatedposts": [
{
"title" : "Black Liberation Views on Palestine",
"author" : "EIP Editors",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/black-liberation-on-palestine",
"date" : "2025-10-17 09:01:00 -0400",
"img" : "https://everythingispolitical.com/uploads/mandela-keffiyeh.jpg",
"excerpt" : "",
"content" : "In understanding global politics, it is important to look at Black liberation struggles as one important source of moral perspective. So, when looking at Palestine, we look to Black leaders to see how they perceived the Palestinian struggle in relation to theirs, from the 1960’s to today.Why must we understand where the injustice lies? Because, as Desmond Tutu famously said, “If you are neutral in situations of injustice, you have chosen the side of the oppressor.”{% for person in site.data.quotes-black-liberation-palestine %}{{ person.name }}{% for quote in person.quotes %}“{{ quote.text }}”{% if quote.source %}— {{ quote.source }}{% endif %}{% endfor %}{% endfor %}"
}
,
{
"title" : "First Anniversary Celebration of EIP",
"author" : "EIP Editors",
"category" : "events",
"url" : "https://everythingispolitical.com/readings/1st-anniversary-of-eip",
"date" : "2025-10-14 18:01:00 -0400",
"img" : "https://everythingispolitical.com/uploads/WSA_EIP_Launch_Cover.jpg",
"excerpt" : "Celebrating One Year of Independent Publishing",
"content" : "Celebrating One Year of Independent PublishingJoin Everything is Political on November 21st for the launch of our End-of-Year Special Edition Magazine.This members-only evening will feature a benefit dinner, cocktails, and live performances in celebration of a year of independent media, critical voices, and collective resistance.The EventNovember 21, 2025, 7-11pmLower Manhattan, New YorkLaunching our End-of-Year Special Edition MagazineSpecial appearances and performancesFood & Drink includedTickets are extremely limited, reserve yours now!Become an annual print member: get x back issues of EIP, receive the End-of-Year Special Edition Magazine, and come to the Anniversary Celebration.$470Already a member? Sign in to get your special offer. Buy Ticket $150 Just $50 ! and get the End-of-Year Special Edition Magazine Buy ticket $150 and get the End-of-Year Special Edition Magazine "
}
,
{
"title" : "Miu Miu Transforms the Apron From Trad Wife to Boss Lady: The sexiest thing in Paris was a work garment",
"author" : "Khaoula Ghanem",
"category" : "",
"url" : "https://everythingispolitical.com/readings/miu-miu-transforms-the-apron-from-trad-wife-to-boss-lady",
"date" : "2025-10-14 13:05:00 -0400",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_MiuMiu_Apron.jpg",
"excerpt" : "Miuccia Prada has a habit of taking the least “fashion” thing in the room and making it the argument. For Spring 2026 at Miu Miu, the argument is the apron; staged not as a coy retro flourish but as a total system. The show’s mise-en-scène read like a canteen or factory floor with melamine-like tables, rationalist severity, a whiff of cleaning fluid. In other words, a runway designed to force a conversation about labor before any sparkle could distract us.",
"content" : "Miuccia Prada has a habit of taking the least “fashion” thing in the room and making it the argument. For Spring 2026 at Miu Miu, the argument is the apron; staged not as a coy retro flourish but as a total system. The show’s mise-en-scène read like a canteen or factory floor with melamine-like tables, rationalist severity, a whiff of cleaning fluid. In other words, a runway designed to force a conversation about labor before any sparkle could distract us.From the opening look—German actress Sandra Hüller in a utilitarian deep-blue apron layered over a barn jacket and neat blue shirting—the thesis was loud: the “cover” becomes the thing itself. As silhouettes marched on, aprons multiplied and mutated—industrial drill cotton with front pockets, raw canvas, taffeta and cloqué silk, lace-edged versions that flirted with lingerie, even black leather and crystal-studded incarnations that reframed function as ornament. What the apron traditionally shields (clothes, bodies, “the good dress”) was inverted; the protection became the prized surface. Prada herself spelled it out: “The apron is my favorite piece of clothing… it symbolizes women, from factories through to serving to the home.”Miu Miu Spring 2026 Ready-to-Wear. SuppliedThis inversion matters historically. The apron’s earliest fashion-adjacent life was industrial. It served as a barrier against grease, heat, stain. It was a token of paid and unpaid care. Miu Miu tapped that lineage directly (canvas, work belts, D-ring hardware), then sliced it against domestic codes (florals, ruffles, crochet), and finally pushed into nightlife with bejeweled and leather bibs. The garment’s migration across materials made its social migrations visible. It is a kitchen apron, yes, but also one for labs, hospitals, and factories; the set and styling insisted on that plurality.What makes the apron such a loaded emblem is not just what it covers, but what it reveals about who has always been working. Before industrialization formalized labor into factory shifts and wages, women were already performing invisible labour, the kind that doesn’t exist on payrolls but sits at the foundation of every functioning society. They were cooking, cleaning, raising children, nursing the ill. These tasks were foundational to every economy and yet absent from every ledger. Even when women entered the industrial workforce, from textile plants to wartime assembly lines, their domestic responsibilities did not disappear, they doubled. In that context, the apron here is a quiet manifesto for the strength that goes unrecorded, unthanked, and yet keeps civilization running.The algorithmic rise of the “tradwife,” the influencer economy that packages domesticity as soft power, is the contemporary cultural shadow here. Miu Miu’s apron refuses that rehearsal. In fact, it’s intentionally awkward—oversized, undone, worn over bikinis or with sturdy shoes—so the viewer can’t flatten it into Pinterest-ready nostalgia. Critics noted the collection as a reclamation, a rebuttal to the flattening forces of the feed: the apron as a uniform for endurance rather than submission. The show notes framed it simply as “a consideration of the work of women,” a reminder that the invisible economies of effort—paid, unpaid, emotional—still structure daily life.If that sounds unusually explicit for a luxury runway, consider the designer. Prada trained as a mime at Milan’s Piccolo Teatro, earned a PhD in political science, joined the Italian Communist Party, and was active in the women’s rights movement in 1970s Milan. Those facts are not trivia; they are the grammar of her clothes. Decades of “ugly chic” were, essentially, a slow campaign against easy consumption and default beauty. In 2026, the apron becomes the newest dialect. An emblem drawn from leftist feminist history, recoded into a product that still has to sell. That tension—belief versus business—is the Miuccia paradox, and it’s precisely why these aprons read as statements, not trends.The runway narrative traced a journey from function to fetish. Early looks were squarely utilitarian—thick cottons, pocketed bibs—before migrating toward fragility and sparkle. Lace aprons laid transparently over swimmers; crystal-studded aprons slipped across cocktail territory; leather apron-dresses stiffened posture into armor. The sequencing proposed the same silhouette can encode labor, intimacy, and spectacle depending on fabrication. If most brands smuggle “workwear” in as set dressing, Miu Miu forced it onto the body as the central garment and an unmissable reminder that the feminine is often asked to be both shield and display at once.It’s instructive to read this collection against the house’s last mega-viral object: the micro-mini of Spring 2022, a pleated, raw-hem wafer that colonized timelines and magazine covers. That skirt’s thesis was exposure—hip bones and hemlines as post-lockdown spectacle, Y2K nostalgia framed as liberation-lite. The apron, ironically, covers. Where the micro-mini trafficked in the optics of freedom (and the speed of virality), the apron asks about the conditions that make freedom possible: who launders, who cooks, who cares? To move from “look at me” to “who is working here?” is a pivot from optics to ethics, without abandoning desire. (The aprons are, after all, deeply covetable.) In a platform economy that still rewards the shortest hemline with the biggest click-through, this is a sophisticated counter-program.Yet the designer is not romanticizing toil. There’s wit in the ruffles and perversity in the crystals; neither negate labor, they metabolize it. The most striking image is the apron treated as couture-adjacent. Traditionally, an apron protects the precious thing beneath; here, the apron is the precious thing. You could call that hypocrisy—luxurizing the uniform of workers. Or, strategy, insisting that the symbols of care and effort deserve visibility and investment.Of course, none of this exists in a vacuum. The “tradwife” script thrives because it is aesthetically legible and commercially scalable. It packages gender ideology as moodboard. Miu Miu counters with garments whose legibility flickers. The collection’s best looks ask viewers to reconcile tenderness with toughness, convenience with care, which is exactly the mental choreography demanded of women in every context from office to home to online.If you wanted a season-defining “It” item, you’ll still find it. The apron is poised to proliferate across fast-fashion and luxury alike. But the deeper success is structural: Miu Miu re-centered labor as an aesthetic category. That’s rarer than a viral skirt. It’s a reminder that clothes don’t merely decorate life, they describe and negotiate it. In making the apron the subject rather than the prop, Prada turned a garment of service into a platform for agency. It’s precisely the kind of cultural recursion you’d expect from a designer shaped by feminist politics, who never stopped treating fashion as an instrument of thought as much as style.The last image to hold onto is deceptively simple: a woman in an apron, neither fetishized nor infantilized, striding, hands free. Not a costume for nostalgia, not a meme for the feed, but a working uniform reframed, respected, and suddenly, undeniably beautiful. That is Miu Miu’s provocation for Spring 2026: the work behind the work, made visible at last."
}
]
}