In the heart of Damascus, a lively courtyard in the Old City came alive on a chilly evening as hundreds gathered for a music concert, approved by Syria’s new Islamist-led government. Singer Mahmoud al-Haddad, reflecting on the uncertainties brought by Islamist rebels advancing towards the city, feared for the future of such cultural gatherings. The downfall of President Bashar al-Assad marked a significant shift from decades of his family’s rule, paving the way for groups like Hayat Tahrir al-Sham (HTS) with roots in global jihad.
While Islamist regimes in other regions have enforced strict limitations on artistic expression and heritage, the scene in Damascus has taken a different turn following the fall of Assad. Cultural life has begun to revive, with the interim authorities offering support and protection to artists like Haddad as they resume their performances.
Anas Zeidan, an official overseeing museums and antiquities, emphasized the government’s support for all forms of art and the preservation of cultural heritage. Exhibitions, dance rehearsals, and musical performances have gradually returned, signaling a shift towards a more inclusive approach to cultural expression.
However, the ideological shift under the new rulers has raised concerns among more secular-minded Syrians and minority groups. Incidents of intolerance and attempts to enforce conservative norms have sparked apprehension, underscoring the delicate balance between cultural revival and ideological imposition in post-Assad Syria.
Seeking recognition from both Western and Arab governments, his grip tightened on power, wary of any lean towards extremism. Andrew Hammond, a senior lecturer in Islamic Studies at the Australian National University, noted the authorities’ readiness to confront hardline factions who view arts as frivolous and corrupting, potentially sparking conflict. These hardline groups, averse to depictions of the human form and music, see them as competing with Quranic traditions. This shift in policy by the ruling group signals a departure from its origins in transnational jihad to a more moderate form of political Islam rooted in Syrian nationalism, aligning with the approaches of Islamist groups in other Arab nations. Hammond anticipated a pragmatic stance from the new administration, eschewing radical shifts that could alienate Western and regional allies and Syrian citizens, indicating a likelihood of maintaining artistic freedoms.
Under HTS rule in Idlib, restrictions on behavior have relaxed over the years, symbolized by the withdrawal of morality police from the streets, suggesting a move towards mainstream acceptance. Syrian artist Sara Shamma voiced initial concerns among artists regarding potential limitations on creative expression under the new government. However, her retrospective exhibition at the National Museum, “Sara Shamma: Echoes of 12 years,” proceeded smoothly despite the change in leadership, reflecting a positive outlook for artistic freedoms in the future.
Aaron Zelin, an expert on HTS, observed the group’s cautious approach in avoiding controversy while consolidating control in Idlib. As HTS navigates societal norms, Zelin speculated on the possibility of policy reversals in the future, but for now, the group’s adaptability signals a positive trajectory. Sharaa, the new leader, has refrained from definitive stances on issues like sharia law, women’s attire, and alcohol consumption, emphasizing the importance of aligning governance with Syrian culture and history rather than mirroring foreign models like Afghanistan.
Renowned sculptor Ali, along with other artists, initially felt apprehensive about the new government, but over time, those feelings diminished. Among the remarkable pieces showcased at his atelier in the Old City are a life-sized metal horse sculpture and a striking wooden bust. Ali discussed how Islamic art typically leans toward abstract forms like geometric designs. However, he also highlighted the presence of figurative art throughout significant periods in Islamic history, such as during the Umayyad Caliphate’s rule from 661 to 750 in Damascus.
After the ouster of Assad, the Higher Institute of Dramatic Arts temporarily closed its doors, with Islamist fighters stationed around the institution and the nearby Damascus Opera House. Nawras Othman, the director of dance, revealed that many students initially feared the Islamists would prohibit dancing altogether. However, their concerns were alleviated when representatives of HTS met with them in December. Othman mentioned, “They had concerns, but they felt more at ease afterward.”
One of the students, 22-year-old Ghazal al-Badr, currently in her fourth year of study, shared that the dancers collectively decided to resume classes shortly after the closure. Their decision aimed to underline the significance of their art to the new authorities and their commitment to persevere. She expressed, “We felt a sense of duty – that it was our time to step forward and show our presence.”
(Additional coverage by Timour Azhari and Firas Makdesi in Damascus; Written by Tom Perry; Edited by Pravin Char)
