Qunfuz

This was first published (with some great links) at the Guardian. Picture is Abu Hajar. More stories about him and many others in our forthcoming book ‘Burning Country: Syrians in Revolution and War’.

In the first heady weeks of the Arab Spring commentators made much of the role played by social media, and certainly Facebook in particular provided an indispensable tool to young revolutionaries throughout the region. But less noticed, and ultimately far more significant, was the carnivalesque explosion of popular culture in revolutionary public spaces.

The protests in Syria against Bashaar al-Assad’s dictatorship were far from grim affairs. Despite the ever-present risk of bullets, Syrians expressed their hopes for dignity and rights through slogans, graffiti, cartoons, dances and songs.

To start with, protestors tried to reach central squares, hoping to emulate the Egyptians who occupied Tahrir Square. Week after week residents of Damascus’s eastern suburbs tried to reach the capital’s Abbasiyeen Square, and were shot down in their dozens. Tens of thousands did manage to occupy the Clock Square in Homs, where they sang and prayed, but in a matter of hours security washed them out with blood.

This April 2011 massacre tolled an early funeral bell for peaceful protest as a realistic strategy. In response to the unbearable repression, the revolution gradually militarised. By the summer of 2012 war was spinning in downward spiral: the regime added sectarian provocation to its ‘scorched earth’ tactics of bombardment and siege; foreign states and transnational jihadists piled in; those refugees who could got out.

Civil revolutionaries did their best to adapt. Alongside self-organising committees and councils, Syrians set up independent news agencies, tens of radio stations and well over 60 newspapers and magazines. Kafranbel, for instance, a rural town become famous for its witty and humane slogans, broadcasts discussion, news and women’s programmes on its own ‘Radio Fresh’ – despite a recent assault by Jabhat al-Nusra fighters. And Enab Baladi (My Country’s Grapes), is a newspaper published by women in Daraya, a besieged, shelled and gassed Damascus suburb. Remarkably, the magazine focuses on unarmed civil resistance.

As a result of both security concerns and communal solidarity, anonymous cooperative endeavours proliferated, amongst them photography collectives such as the Young Syrian Lenses.

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