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DAMASCUS (Reuters) – In a vibrant display of cultural revival, hundreds gathered in the Old City of Damascus on a chilly evening for a lively concert, sanctioned by the city’s new Islamist authorities. The event, led by popular singer Mahmoud al-Haddad, offered a moment of joy amid apprehensions that such gatherings could be under threat due to the advancing influence of Islamist factions, like Hayat Tahrir al-Sham (HTS).
Haddad recalled the fears that loomed over artists and audiences alike in December, as rebels from HTS, which has roots linked to global jihad but distanced itself from al Qaeda in 2016, intensified their control over Damascus following the fall of President Bashar al-Assad. “Everyone was afraid,” he said, wondering if concerts would remain a possibility in the new political landscape.
The recent shift in power has indeed changed the cultural atmosphere in Syria. HTS’s takeover marked the end of over fifty years under the Baath Party’s authoritarian rule, fostering fears about the fate of artistic expression in the country. However, instead of stifling creativity, current authorities seem to have embraced artistic endeavors, allowing events that celebrate the cultural heritage of Syria.
Before resuming his performances in January at the Beit Jabri restaurant, Haddad sought confirmation from the new regime. To his surprise, he received a supportive response: “You can have your concert, and if you want protection, we will send you protection,” he recounted.
Anas Zeidan, who serves in the interim administration overseeing museums and antiquities, expressed a welcoming attitude towards the arts, stating that the government promotes “all types and forms of art” as part of preserving the nation’s cultural identity. His remarks highlighted a stark contrast to the more repressive measures seen in regions governed by other radical movements, such as the Taliban.
Recently, a notable exhibition featuring daring artwork was reopened at the National Museum, demonstrating a newfound enthusiasm for culture. Additionally, the Higher Institute of Dramatic Arts has reactivated its programs, including contemporary dance rehearsals, while the National Symphony Orchestra made a significant comeback with a performance after years of inactivity.
HTS’s ascendancy was completed after they broke out from their stronghold in Idlib province, which they had controlled since 2017, culminating in a significant regime change following over 13 years of civil conflict. In January, the group’s leader, Ahmed al-Sharaa, was formally appointed as the interim president, marking a new chapter in Syria’s tumultuous political saga.
Although the administration has implications of Islamist governance, it exhibits varying degrees of tolerance for artistic collaboration. For instance, educational reforms are underway that emphasize a Muslim identity. However, reactions from more secular-minded Syrians and minority factions indicate ongoing concerns, particularly in light of incidents that could stoke religious intolerance.
Sharaa has emphasized an inclusive approach, aiming for regional recognition while attempting to refrain from radical policies that could alienate both international audiences and local communities. Analysts suggest that the current administration is strategically navigating its ideological identity, opting for a hybrid model that mixes moderate Islamic principles with a touch of nationalism, similar to trends observed in other Arab states.
Amid these shifts, there are indications that the government is willing to protect cultural expressions, even if some more extreme individuals within the administration may oppose such freedoms. Andrew Hammond, an expert on Islamic Studies, noted that while traditionalists might resist artistic pursuits, outright bans are unlikely, allowing for a fertile environment for cultural growth.
Despite a history of oppression against certain art forms in territories controlled by HTS, recent years have seen a relaxation of these strict measures, illustrating a gradual acceptance of diverse cultural expressions.
Artist Sara Shamma reflected on earlier anxieties among creatives regarding the new regime, stating that her initial fears of restrictions on figurative art were unsubstantiated. She expressed optimism about the future and noted the resilience of artistic communities in embracing their craft.
In November, her retrospective exhibition, “Sara Shamma: Echoes of 12 years,” showcased works created during her time abroad and became a pivotal moment in the revival of artistic dialogue in the National Museum.
Experts, including Aaron Zelin, comment that HTS is carefully considering the societal landscape while consolidating power, learning to navigate public sentiment without overtly suppressing cultural expressions. However, the sustainability of this openness remains ambiguous, hinging on the group’s future stability and comfort level.
Newly appointed Sharaa has sidestepped discussing sensitive cultural issues like Sharia law, women’s dress codes, and alcohol consumption policies within a constitutional framework, asserting that these matters need addressing only through a broader societal discourse rather than individual mandates.
Prominent sculptor Mustafa Ali echoed the sentiments of hopeful artists, who have absorbed the prevailing atmosphere of creative liberty. His workshop features numerous striking pieces, indicative of a thriving artistic outlook despite initial trepidations over changes in governance.
With a collective sense of responsibility, students of the Higher Institute of Dramatic Arts have also resumed their training, eager to prove the relevance of their art under the new authorities’ governance. This proactive stance reflects a commitment to uphold their traditions and contribute positively to the cultural dialogue in Syria.
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