| Summary/Abstract |
Space has played a central and largely overlooked role in the Syrian conflict during the past eight years. A tension surrounds the organization of urban space and its impact on cultural identity, inequality, and political mobilization. Spatial politics represent a looming threat that is implicit in the project of ISIS, an international terrorist organization that seeks to appropriate the geographical area of al-Sham (Greater Syria) to create a transnational Caliphate. It also appears in the ‘development proposals’ of the Syrian government, which capitalize on a humanitarian crisis to expropriate forcibly displaced citizens of their land and properties.1
1 Signed into law by Syrian President Bashar Al Assad in April 2018, Law number 10 allows the government to seize and redevelop properties in ‘ashwa’iyat or illegal neighborhoods. For more on this see Rania Mostapha (2018Mostapha, R. (2018) Law 10 and the Theft of Syrian Property, Salon Syria. Available at:
https://salonsyria.com/law-10-and-the-theft-of-syrian-property/#.W_s8tPZFxyw
, accessed November 24, 2018.
[Google Scholar]
) Law 10 and the Theft of Syrian Property, in Salon Syria. Available at: https://salonsyria.com/law-10-and-the-theft-of-syrian-property/#.W_s8tPZFxyw, accessed February 4, 2019.
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This article analyzes how Syrian television drama is not only an important field of cultural expression and a site of contestation but also reveals the many socioeconomic spatial tensions underlying the 2011 Revolution and its aftermath. The latter aspect is demonstrated through a visual and textual analysis of two television serials that depict the ‘ashwa’iyat,2
2 The term ‘ashwa’iyat’ literally translates to ‘arbitraries’ in English, referring to the unregulated, unlicensed and arbitrary fashion in which these slums have been erected and continue to exist. The adjective, in its plural form, has morphed into the common term used to describe the shanty towns surrounding the Damascene urban center.
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[arbitrary informal settlements of Damascus]. The first show, al-Intizar (2006), aired before the Syrian conflict. The second, Zawal (2016), aired as the political turmoil in Syria continued to unfold. This comparative analysis illustrates how the organization of urban space has impacted the dynamics of the Syrian Revolution and its aftermath, and how portrayals of urban and shanty town dramas portrayed the spatial inequalities of Damascus before and during the conflict.
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