Development

Did you know that since the beginning of 2007, there were about 16,368 car accidents in Syria, with about 1,533 deaths and approximately 9,216 injuries? These numbers are closer to being war casualties than traffic accidents! What is even scarier is that half if not all of these accidents, injuries and fatalities could have been avoided by simple city planning. Almost anyone residing in Damascus knows how dangerous it is walking, driving, or parking in the city (not to mention the brave task of biking). It is like playing Playstation 2 yet when the car rolls over, you do not get to restart the game. As bizarre as this may sound, it is the norm in this city and Syrians and foreigners alike know it.

Ibrahim Hamidi

Syria is changing. Not all of Syria, however, is included in this change. The speed of change varies. It is quick for those living inside Syria, although they may not feel it on a daily basis. Things are different for an expatriate, who sees the change process as slow, incapable of coping with the rapid spread of globalization. The expatriate, however, acknowledges how deep and symbolic this change actually is. The one who feels the change most, however, is the Syrian who has been away from his country for many years. He feels the change the minute he walks into Damascus International Airport. Syria no longer looks like Cuba or North Korea. True, some security personnel still do not greet visitors in a proper manner.

Sulhi al-Wadi was born in Baghdad and raised in Damascus. He studied at the VictoriaCollege in Alexandria, and moved to the Royal Academy of Music in London, where he specialized in composition. Upon returning to Damascus in 1961, he founded the Arab Institute of Music and promised to introduce «serious music» into Syrian culture. He served as a conductor and instructor, and almost single-handily taught and nurtured an entire generation of young and talented musicians. In 1962, he became director of the Institute of Music and held this post until 2002. For the next four decades, Sulhi al-Wadi was behind anything that had to do with classical music in Syria, promoting it through newspapers, television, and radio. His style was marked with strong rhythmic accentuation, soaring dramatic melodies, and a touch of Oriental sounds and tunes. He composed various symphonies and borrowed tunes from the Egyptian artist Mohammad Abdul al-Wahab, adding a touch of modernity to classical music. In 1990, Sulhi al-Wadi became Dean of the Higher Institute of Music, spreading his influence over all decision-making in the field of classical music. In 1995 Wadi founded the Syrian National Symphonic Orchestra and began to perform operas all over the Arab world. It was the first symphonic orchestra in Syria and quickly rose to overnight fame. Wadi’s musicians were an instant success, and today, their concerts are annual events in Syria, greatly anticipated within cultural circles. In reward for his contribution to Syria’s cultural life and music, President Hafez al-Assad awarded him the Order of Merit of the First Class. His career was also greatly supported by then Culture Minister (now Vice-President) Najah al-Attar. One of the turning points in Wadi’s long and prolific career was Syria’s first grand opera performance at the Umayyad Palace on September 16, 1995. The opera was ‘Dido and Aeneas’ performed before an audience of 2,600 people. Writing for FW about the event, Razan Issa, one of the ballerinas at the Opera, commented: “Tons of iron, wood, and other material were used to re-capture ancient Carthage, in a narrow theatre that was not designed to stage such a majestic performance. A performance like ‘’Dido and Aeneas” would have required a spacious stage or a circular, moving theater. Making the best out of what was at-hand, the designers created mobile dynamic props that are moved around to accommodate the events of the story.” In 2001, Wadi suffered a mental stroke while on stage, which left him partly paralyzed and forced him to cut short his highly prolific career. At times one felt that his talents were great—sometimes, too big for Syria itself. Sulhi al-Wadi deserved to be leading great Symphonic Orchestras in Vienna, Paris, or Moscow. But he loved Syria, however, and that is what mattered to him. He was a lion—a lion indeed—trapped in a canary’s cage in the Arab World; a region that never really grasped how great classical music really is. His was electrified with energy while on stage; sharp movement of hands, hair, and facial expressions. He had passion for music and was very proud of his students. More importantly, he loved the job he was doing. All of this explains why he was a great musician, and a great Syrian. There will be Syrian music before Sulhi al-Wadi; and Syrian music after him. He was a turning point in the cultural life of Syria.