By Najeeb Nseir
translated by me ( Tareq Neman)
For the one who wants to know Syria; Syria was not found to be rigid for once and forever. This country seems to be an interactive event; it seems a renewable cultural idea more than a repeatable historical account. The basic definition of this Syria is: an ethnic cultural blend made into a unit which could be a result of the natural development of the supreme values of the human being, without any external interference ( Sykes-picot for example). This natural development is capable of setting forth a productive and sustaining society, which encourages human interaction This is why we can’t consider Syria a cultural heritage. And because it is a product of the interaction of its ingredients within the framework of an ethnic cultural blend, Syria shouldn’t retreat from the ideology of a unilateral identity. This identity will refuse all what is surplus, in order to be clear, straightforward and ready to produce a simple, non-sophisticated and superficial product, because it is not a product of sophisticated, historical Syrian raw material. Modern poetry, for example, which has been written in Syria and has been attacked by simplistic people; this modern poetry was created before lyrical poetry. Syrian culture accepted these kind of poems and implemented it. We can’t consider the poet Abu Alaa Maary as a classical Arab poet, because his poems are about specific philosophic subjects which no poet used to mention at his time. Many said that Syria is a mosaic piece of art; its beauty appears through the harmony of its pieces. On the other hand, the secret of this beauty could be in its ability to change according to new circumstances and elements that might interfere with its production process or formula, as being inherent in the cultural incentives that help building it. Syria is able to accept and interact with any cultural development, regardless if it is imported or local culture. Educated people of the 19th and 20th century, such as al-Kawakeby, Taher al-Jazaeery , Abu Khalil Qabbani, Abdel-Rahman Shahbandar and many others were aware of the reality of Syria, so they fought cultural despair by producing a huge amount of culture. This amount bothered regular and ordinary people and pushed them to fight the new culture instead of competing with it. In spite of all those fights, Syria kept developing and existing. Syria can’t be Syria unless we separate between fighting and competition. Competition will create the future, while fighting will lead us back to the past and form a useless identity, incompatible with recent times because such a ready-made identity will prevent Syria from producing a fresh, new identity.