Dancing in Damascus

With deep knowledge and admirable clarity, miriam cooke here describes and analyses the written, painted, directed, sung, danced and filmed responses to revolution, repression and war in Syria. Dancing in Damascus is an indispensable reminder of the essential uses of art anywhere in times of crisis -- to reflect on disruption and heal trauma, to mobilise, to consecrate human meaning in the face of violence, and to formulate revolutionary horizons. The book also provides a necessary record of the creative processes, usually ignored in Western accounts, which exist at the revolution's heart, despite, and in reply to, the destruction wrought by the counter-revolutions. -- Robin Yassin-Kassab, co-author of Burning Country: Syrians in Revolution and War By analyzing the diverse types of cultural productions and writing this book five years after the beginning of the peoples revolt against the authoritarian ruling regime, miriam cooke has revived the initial spirit of the revolution. Putting the Syrian people first, cooke explains their message and their political, economic, and social demands expressed through creative works and initiatives since the beginning of the revolution up to this day. The blatant absence of solidarity has always caused us sadness and misery, and any voice that supports us has always been a source of joy. Thank you, miriam cooke. -- Sana Yazigi, founder and editor-in-chief of The Creative Memory of the Syrian Revolution miriam cooke has given us a gift: a remembrance of courage and hope in the face of great suffering and violence, and of the enduring resilience of the revolutionary desire for freedom. But just as importantly, she has demonstrated the complex relations of politics and culture in people's lives during the Syrian Revolution and civil war. Without the hubris that assumes art is politics, she shows us the many ways in which political struggle needs culture, and in which culture serves as the vital heart and soul of both hope and tragedy. -- Lawrence Grossberg, Distinguished Professor of Communication and Cultural Studies, UNC Chapel Hill miriam cooke is one of the best writers and thinkers on Syria today. Her new book Dancing in Damascus documents the power of art and culture during a brutal conflict. Using tools as rudimentary as the spray can, pen and mobile recording device, Syrias courageous and ingenious artists, writers and activists challenge Asads war machine and keep the spirit of the revolution alive. -- Malu Halasa, co-editor Syria Speaks: Art and Culture from the Frontline An excellent and comprehensive analysis of the dramatic voices of "artist-activists" and others struggling to be heard through the Syrian revolution. miriam cooke penetratingly identifies reasons why the terrible events in Syria are leaving the world numb, or worse, indifferent, and what should be done to communicate the messages of the revolution effectively. -- Nikolaos van Dam, Ambassador of the Netherlands, Special Envoy for Syria, and author of The Struggle for Power in Syria. Dancing in Damascus is a well-conceived and well-documented book, easy to read, and provides an important insight into Syrian arts and culture in one of the most dangerous moments in Syrias modern history. The authors deep understanding of cultural dynamics in Syria and her personal contacts with Syrian intellectuals and arts curators offers her the possibility to write the first academic document on this topic. -- Ziad Majed, American University of Paris I loved reading this book. On a personal level, it gave me hope and belief in the agency of ordinary Syrians subjected to regime violence. As an academic, it provided me with an unrivalled resource of different examples of cultural production in Syria, as well as different ways of interrogating them. The book responds to the urgent need to make visible the stories and lives of ordinary people who are often sidelined from the totalizing narrativ

miriam cooke is Braxton Craven Professor of Arab Cultures at Duke University. Her books include Dissident Syria: Making Oppositional Arts Official (Duke University Press 2007) and Tribal Modern: Branding New Nations in the Arab Gulf (University of California Press 2014).

Introduction 1. Cracking the Wall of Fear 2. Insulting Bashar 3. Choreographing Trauma 4. Virtual Galleries and Real Exhibitions 5. Refugee Lives Conclusion