Armenians in Lebanon

===Music===
{{main|Armenian music}}
Anatolian and kef music were a source of controversy due to the shared [[Ottoman music|Ottoman]] past they represented in the post-genocide era. A combination of factors in Lebanon, including political independence and the strength of various Armenian institutions, created conditions that were permissive of the rise of an [[Armenian nationalism]] that was similar to the [[Turkish nationalism]] that emerged in the Ottoman Empire in the years leading up to the 1915 genocide. Music in the Lebanese diaspora became another means to separate "us" and "them", but also provided a space where Lebanese Armenians could connect with a concept of "home" in place of the Ottoman past and [[Soviet Armenia|Soviet]] present.<ref name=beirut />

Community choirs that formed in Lebanon during the 1930s, led by former students of [[Komitas]], utilized the imagery of Komitas as the [[saint]] and [[martyr]] of [[Armenian music]]. These choirs proved to be critical in the development of [[collective identity]] amongst Lebanese Armenians. According to Sylvia Angelique Alajaji, a professor of music who has studied music in the Armenian diaspora, "in a literal and symbolic sense, the songs sung by the choirs articulated home and articulated belonging."<ref name=beirut />

[[Armenian pop music]] thrived in 1970s Lebanon, until the outbreak of the Lebanese Civil War. Many artists fled Lebanon during those years including pop singer [[Adiss Harmandian]] and classical [[soprano]] singer [[Arpine Pehlivanian]]. Songs were released about the war including one by Manuel Menengichian with the lyrics "Brothers turned into lions against each other/ Tearing up your heart, Lebanon".<ref name=migliorino>{{Cite book| publisher = Berghahn Books| isbn = 978-1-84545-352-7| last = Migliorino| first = Nicola| title = (Re)constructing Armenia in Lebanon and Syria: Ethno-cultural Diversity and the State in the Aftermath of a Refugee Crisis| date = 2008 |url=https://books.google.com/books?id=rP4kg8cew2QC&pg=PA125|pages=125–167}}</ref>