Decline of cultural activities in Homs; loss of cultural identity

The Syrian city of Homs is witnessing a visible change in its cultural life, with a tangible retreat in artistic, singing, and musical activities that were an essential pillar of the city's identity. The change reflects a deliberate trend that has transformed the familiar features of cultural life since the caretaker government came to power.

One of the most affected Syrian cities by such a change is Homs, where cultural life was minimised to nothing more than a religious framework. For example, the Cultural Center that once served as a venue for music, orchestral performances, cinema, and theatre plays is now limited to events of a specific kind (religious chanting), which reflects the disintegration of the cultural pluralism that has long been a characteristic of this city.

Artists and thinkers in Homs lamented the deterioration of the artistic scene, considering it an undermining of the artistic and cultural heritage for which the city has been known for decades. The region has witnessed a gradual breakdown of cultural diversity, with the disappearance of rich events that imparted a creative dimension to the local residents.

A glaring instance of the drawback in the arena of arts is the halt in the orchestra of the Directorate of Culture, which is made up of 83 singers and instrumentalists and has not performed since the transitional government assumed office.

Moreover, the Central Orchestra of the Homs Education Directorate, which was founded two years ago with the participation of 64 school children and young people and was the first of its kind for children in the city, has completely halted its activities, though it had provided a big arena to develop emerging musical creativity in the province.

The cultural actors in Homs have condemned the neglect of the city's diverse cultural activities, such as music and theater. They explained that such neglect is a form of erasure of cultural identity and a dangerous alteration of the city's cultural scene, one brought about by the actions of the transitional government authorities.

They considered this to be a serious challenge that must be addressed.

One musician from Homs, who wished to stay anonymous, expressed his deep disappointment over the state of culture in the city. He talked of his overwhelming urge to return to the stage and once again play the oud, which, he said, has become prohibited under the new regime.

As for the cultural audience of Homs, who formerly filled the auditoriums, they are experiencing disappointment and sadness. Everyone hopes that this will not last, and that cultural activity will resume its course.

The radical changes in the cultural life of Homs are a definite deviation from the multicolored image the city used to reflect. Instead of an active and creative multifaceted cultural personality, a monolithic one has now dominated, impacting in a negative way the cultural soul and artistic life of the city's population.

What is happening to Homs nowadays is not an isolated case. Instead, this fact dominates the majority of Syrian areas controlled by the transitional government, unlike what is observed in areas not under its control, like the North and East Syria region, where multiple cultural and artistic festivals are held every day, the latest of which was "Euphrates Nights" in Raqqa, and the "Folk Dabke" festival held in the city of Qamishlo. Preparations are also underway for the "Sixth Tal Abyad Festival for Culture and Heritage" and the Hercule Book Fair in Qamishli, to be held from October 20 to 26, 2025.

ANHA