The idea of a trade and industrial exhibition emerged among Damascus residents as early as the 1920s. The first fair was held in 1927 and showcased local agricultural products, followed by exhibitions of Eastern and Syrian handicrafts. After the large-scale strike of 1936, merchants and the government of Ata al-Ayyubi sought to revive the damaged economy and organized an exhibition in May of that year in a secondary-school building. It was opened by President Muhammad Ali al-Abid under the slogan “The Arab Horse.” Although the event was successful, it became a regular tradition only later.
In 1952, a law was passed establishing an annual trade exhibition called the “Damascus International Fair.” Its initial opening was thwarted by the coup that overthrew Adib al-Shishakli, but under President Hashim al-Atassi, the fair welcomed visitors for the first time. It was held in the al-Marj al-Akhdar district, also known as “Reed Meadow,” on the road to Beirut, between Umayyad Square and the National Museum, on the banks of the Barada River. Covering an area of 250,000 square meters, it brought together 26 Arab and foreign countries, and more than one million people visited the exhibition over the course of a month.
Gradually, the fair evolved from a business event into a genuine citywide celebration. Families saved money in advance, dressed up, and set out to explore the pavilions, fountains, and entertainment. Its location beside the Barada strengthened the tradition of evening walks and picnics: visitors rode in wooden boats, watched the illuminated fountains, and later listened to songs dedicated to the river. The organizers also sought to showcase the latest technologies. In 1954, for example, the American Cinerama film system was brought to Damascus. More than 12 tons of equipment were transported for the screening, and a screen approximately 23 meters high was installed. Around 100,000 people, including President al-Atassi, watched the film.
The fair’s success led to the establishment in 1955 of the General Directorate of the Damascus International Fair, an independent state institution under the Ministry of Economy. By 1956, 30 countries and 771 organizations were taking part, while attendance exceeded 1.78 million. After Syria and Egypt united in 1958, international participation fell to 19 countries and 668 organizations, but the fair still attracted about 1.35 million visitors. Syrian Airlines promoted the event by offering discounts of up to 25 percent on tickets in September; that month came to be known as the “month of the fair.”
The exhibition gained particular fame for its music festival. Major Arab artists performed on its stage, from Umm Kulthum, who opened the festival with two concerts in 1957, to Abdel Halim Hafez in 1976. Music by American, Soviet, Chinese, and Spanish ensembles was heard there, and the lineup also included Muhammad Abdel Wahab, Farid al-Atrash, Faiza Ahmed, Warda, and Sabah Fakhri. Above all, however, the fair remained associated in the public memory with Fairuz and the Rahbani brothers, who took part from 1958 to 1977 and dedicated songs to Damascus each year, including “Ask Me, O Damascus” and “Damascus, O Bearer of the Sword.”
In 2003, on the fair’s fiftieth anniversary, it was moved from the banks of the Barada to a new exhibition complex near Damascus International Airport. Many residents saw this as the loss of its historical context: the fountains, river excursions, open-air stage, and memories of performances by Fairuz and other celebrated artists remained behind with the old site. Against the backdrop of economic crisis and a weakening cultural life, the fair gradually lost its former luster, and its staging was suspended for long periods during years of instability. Nevertheless, the old site continues to occupy an important place in Syrians’ collective memory—as a symbol of an era when trade, music, and everyday life in Damascus merged into one grand urban celebration.
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How did the Damascus International Fair affect the development of the al-Marj al-Akhdar district and the present-day condition of the area along the Barada River? — The fair helped transform al-Marj al-Akhdar into a modern exhibition and public area, with pavilions, roads, gardens, and infrastructure facilities appearing there. After the fair was relocated and the area was subsequently built up, the land along the Barada lost its former exhibition function; some of the pavilions disappeared, and the district became divided among urban development, transport facilities, and poorly landscaped areas along the river.
Why did the union of Syria and Egypt in 1958 lead to a decline in international participation in the fair, despite attendance remaining high? — After the establishment of the United Arab Republic, the fair came to be viewed primarily as an event within the new political union. A shift in foreign-policy orientation, strained relations with Western countries, and increased state control made it more difficult for a number of foreign companies and countries to participate. At the same time, the fair remained popular with the public and continued to attract large numbers of local visitors.
What happened to the new exhibition complex near Damascus International Airport after political instability began, and why was it difficult to restore the fair to its former scale? — The new exhibition complex near the airport gradually lost its former role because of political instability, wars, economic difficulties, and disruptions to infrastructure. Restoring the fair to its former scale was difficult because of declining international confidence, sanctions, deteriorating transport and hotel infrastructure, and the reduced ability of Syrian businesses and the state to finance a major international event.
Full version: The Damascus International Fair: A Success Story in an Era of Fine Art and Overwhelming Joy