Amidst the ongoing transformation in Syria, the nation’s musicians are cautiously observing the rise of Islamist leadership, seeking to safeguard their artistic gains achieved during 14 years of civil conflict.
The turmoil spurred the growth of a burgeoning heavy metal scene and, as hostilities diminished, a vibrant electronic music and dance culture emerged, reigniting Syrian nightlife.
Artists are now preparing to engage with the newly established government led by Hayat Tahrir al-Sham (HTS), a faction that originated from both al-Qaeda and the Islamic State. DJ and musician Maher Green emphasized the need for strategic organization prior to approaching HTS, stating, “We are willing to discuss this logically with real proposals.”
Through perseverance, electronic music organizers established dialogue with security services under previous administrations to ensure safe gatherings, promoting peaceful interactions.
Historically, the Assad regime exhibited intolerance towards heavy metal musicians, appraising their expression as subversive and tied to Western ideologies. Nael al-Hadidi, a music shop owner, recounted facing scrutiny for popular music sales, stating, “I met with intelligence services multiple times because of this genre.”
This scrutiny transformed during the brutal crackdown on Syria’s pro-democracy movement, which spiraled into civil war. Al-Hadidi noted that, pre-war, even slight deviations in appearance could ignite suspicion, yet the chaos of conflict allowed vibrant music cultures to flourish.
Despite the war energizing local metal bands, it also precipitated a wave of emigration among musicians seeking prospects abroad. Al-Hadidi lamented, “Ninety percent of my friends are now in Europe.”
Wajd Khair, a persistent musician, suspended his career in 2011 amidst escalating violence, expressing that no lyrics could encapsulate the reality of the atrocities endured.
After a lengthy hiatus, Khair has recently resumed playing and creating music, though he remains uncertain about the implications of HTS’s control over creative liberties. “We must assert our presence; it’s vital that people recognize we exist beyond rigid ideologies,” he stressed.
While initial reactions to the HTS takeover were cautiously optimistic, incidents such as the closure of the Opera House raised alarms about artistic freedom. However, sources indicated the venue would reopen shortly after the rebel victory, reflecting a commitment to cultural preservation.
Sensitivities towards Damascus’s cosmopolitan culture are evident as HTS promised to respect rights and freedoms, distancing itself from extremist practices. Following public discontent, even state-led initiatives promoting religious content were swiftly rescinded.
In a show of cultural resilience, Safana Bakleh led a choir, encouraging youth participation in revolutionary songs. “Our path may present challenges, but we hold hope for a future driven by a vibrant arts community,” Bakleh declared.
Concerns linger about subverting one form of oppression for another, with al-Hadidi hopeful that HTS will honor its commitments to artistic freedom. “We must strive against any attempts that may lead us into a quasi-theocratic rule,” he warned.
As the artistic community strives for a pivotal role in shaping Syria’s cultural landscape, Green remarked on the urgency for unified action. “We need to coordinate before the leadership prioritizes culture, to ensure our voices are heard amidst their agenda,” he stated.
Innovative fusions of Arabic traditions with electronic sounds symbolize the resilient spirit of Syria’s music scene, which, having survived civil unrest, now encounters a critical juncture of potential transformation and revival.
