Idlib likely to be Syria’s next bloody theater after Aleppo

Syrian men inspect the damage following an airstrike on the village of Maaret al-Numan, in the country’s northern province of Idlib, in this Dec. 4 file photo. (AFP)
Updated 18 December 2016
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Idlib likely to be Syria’s next bloody theater after Aleppo

BEIRUT: The battle for Aleppo has gripped the world, but it is hardly the only active front across war-torn Syria. One of the next targets for the forces of Syrian President Bashar Assad will probably be the heartland of rebel territory, the neighboring province of Idlib.

The province west of Aleppo is a stronghold of Al-Qaeda’s Syria affiliate and is now also packed with tens of thousands of rebels, many of them evacuated from other parts of the country, making it likely to be an even more bloody theater than Aleppo.

Idlib has direct links to the Turkish border, and is located only a few kilometers north of Hama, a central province and key point for defending Assad’s coastal strongholds and nearby Russian military bases.

Asked where he will turn to next, Assad has suggested his first priority, after fortifying the area around Aleppo city, would be Idlib.

“Identifying which city comes next depends on which city contains the largest number of terrorists and which city provides other countries with the opportunity to support them logistically,” he told Russian media outlets in an interview in Damascus this week.

“Currently, there are direct links between Aleppo and Idlib because of the presence of Jabhat Al-Nusra inside and on the outskirts of Aleppo and in Idlib,” he said, a reference to the Al-Qaeda affiliate, formerly known as the Nusra Front, now the Fatah Al-Sham Front. He added that the decision about what comes next will be made through discussions with his Russian and Iranian allies.

The government’s loss of Jisr Al-Shughour, in the westernmost corner of the province, and with it the whole of Idlib province, in the summer of 2015, was what prompted Russia to intervene to shore up Assad’s forces, eventually turning the war’s momentum back in his favor.

SYRIA’S KANDAHAR?

For the past two years, as Assad pursued a policy of siege and local truces to force surrenders, thousands of rebels and opposition supporters have been deported to Idlib — a forced exile that many see as a calculated attempt to gather the fighters in one location where they can later be eliminated.

The province has welcomed thousands of Islamic militants — with varying degrees of extremist ideology — who have converged along with their families from the central city of Homs and the suburbs of Damascus, after capitulating to government forces.
It has become a common sight: Men receiving a hero’s welcome as they step off the green buses in Idlib with guns slung over their shoulders, having been forced to leave besieged and bombarded towns and cities.

“The government wants to prepare people, psychologically, for the idea that Idlib is the Kandahar of Syria,” said Ibrahim Hamidi, a journalist who covers Syrian affairs for the Saudi-owned newspaper Al Hayat.

He was referring to Kandahar province in Afghanistan, the base of the militant Taliban’s 1996-2001 government. He said the presence of so many Islamic militants would make it easier for the government and its allies to later justify a massive assault.
The province has the most powerful concentration of rebels. According to the Institute for the Study of War, it boasts more than 50,000 fighters regrouped under the umbrella organization Jaish Al-Fatah, or Army of Conquest, which is led by the Al-Qaeda affiliate.

Using Idlib as a launching pad, the group briefly broke the government’s siege of eastern Aleppo in August.

OPEN LINES TO TURKEY

Idlib is one of the few regions in Syria where the Daesh group and the government have no presence, save for two small government-controlled Shiite-majority villages. The province borders Turkey, a key sponsor of Syrian rebels, and the coastal province of Latakia, a government stronghold.

Access to the Turkish border means virtually everything is available in Idlib — including weapons and other supplies.
Yezid Sayigh, a senior fellow at the Carnegie Middle East Center in Beirut, said a major point in the Idlib battle will be the role that Turkey will play, since the opposition survives on continuous replenishment of supplies from Turkey.

He added that if Turkey decides for various reasons — perhaps as part of an understanding with Russia — to reduce that assistance, then the Turkish border with Idlib would become like the Jordanian border with Daraa, where the armed opposition has very little ability to take independent action or to survive in the long run.

AL-QAEDA STRONGHOLD
Members of the opposition fear that government and Russian warplanes will eventually carpet bomb Idlib under the pretext that it is a stronghold of Al-Qaeda-linked extremists. The Fatah Al-Sham Front’s leadership is based there, perhaps making western powers more inclined to turn a blind eye to a massive military campaign targeting the province.

Since July 2015, US aircraft have killed some of Al-Qaeda’s most senior figures in strikes on Idlib, including Kuwait-born Mohsen Al-Fadli, Sanafi Al-Nasr of Saudi Arabia and Ahmed Salama Mabrouk of Egypt, who was killed in early October. They belonged to what US officials call the Khorasan group, which Washington describes as an internal branch of Al-Qaeda that plans attacks against Western interests.

“The regime wants Idlib to become another Raqqa,” said Hassan Al-Dughaim, a Turkey-based Syrian preacher and researcher from Idlib, who lived there for most of his life until last year. The Syrian city of Raqqa is the de facto capital of the IS group’s self-styled caliphate. Idlib city serves a similar function for Al-Qaeda.

Al-Dughaim said the Syrian government hopes that the presence of so many militants from different groups will lead to infighting. But despite the steady flow of fighters such confrontations have been rare.

Faysal Itani, a resident fellow at the Atlantic Council, agrees. “By lumping the displaced hostile populations in with the extremists, you’ve basically confined the problem to one place,” he said. “Once that is done, the regime will go after it hard and no one will be able to make much of a fuss internationally.”


Capturing the Kingdom a frame at a time

Mohammed Babelli’s journey into visual documentation began at an early age and evolved into a publishing project. (Supplied)
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Capturing the Kingdom a frame at a time

  • Photographer and publisher Mohamed Babelli has spent a lifetime documenting Saudi Arabia’s landscapes

RIYADH: Long before Saudi Arabia’s cultural and archeological treasures were known to the world, Mohamed Babelli had already developed an instinct for uncovering its archaeological gems.

Consultant engineer by profession and photographer by passion, Babelli’s journey into visual documentation began at an early age and evolved into a publishing project.

“I received my first camera as a gift from my father before a summer trip to Cyprus in 1978. Since then, photography was associated with travel,” Babelli told Arab News.

Mohammed Babelli’s journey into visual documentation began at an early age and evolved into a publishing project. (Supplied)

That early exposure shaped a lifelong habit of seeing places through a photographer’s lens. In the early 1990s, Babelli began exploring the outskirts of Riyadh with colleagues from around the world, documenting landscapes rarely photographed at the time.

His interest deepened in the mid-1990s when he collaborated with an Australian photographer on books focused on Saudi Arabia’s natural environment.

“I returned from that trip with some good photographs and a decision to work on a book about Mada’in Saleh, AlUla and the Hejaz Railway,” Babelli said.

HIGHLIGHTS

• Mohammed Babelli’s work led to the founding of Desert Publisher in Riyadh in 2008, a publishing house specializing in high-quality visual publications about the Kingdom.

• ‘Antiquity of Saudi Arabia’ began in 2009 and took 15 years to complete, with support from the Cultural Development Fund enabling its final stages.

It took five years to complete “Mada’in Saleh,” which was published in English in 2003, with text researched and written by his brother, Ibrahim Babelli. The book was among the first visual works to document Hegra, AlUla and the historic railway in a single volume.

Mohammed Babelli’s journey into visual documentation began at an early age and evolved into a publishing project. (Supplied)

His work led to the founding of Desert Publisher in Riyadh in 2008, a publishing house specializing in high-quality visual publications about the Kingdom.

Babelli said the name reflected the publisher’s strong connection to the desert and Saudi heritage, a theme evident in both the design and content of its books. The name is also inspired by a transformative expedition earlier that year across the Empty Quarter.

“The expedition had a great impression on me,” said Babelli.

Mohammed Babelli’s journey into visual documentation began at an early age and evolved into a publishing project. (Supplied)

“Saudi Arabia,” published in 2007, is a visually rich volume that takes readers on a journey across the Kingdom, covering cities, traditions, architecture, people, heritage, religion, archaeology, nature and daily life.

What set the book apart was its multilingual format. From its first edition, it was published in four languages — English, French, German and Spanish — in order to reach an international audience.

“Since a young age, I had the opportunity to travel to different countries, east and west,” said Babelli. “In Europe, and in Germany in particular, I found cultural books include at least three languages.

“My goal was to provide the viewer or reader with a beautiful picture of Saudi Arabia, along with correct information in their language, so that they can enjoy and learn about (it),” he added.

Over time, his books expanded to feature nine languages, including Arabic, English, French, German, Spanish, Russian, Chinese, Japanese and Korean. This made them a natural choice for Saudi embassies, international conferences and major global events, including conferences in Senegal and Spain, as well as Expo Shanghai in China.

In 2019, the Saudi Ministry of Foreign Affairs selected several of the publisher’s titles for distribution to the Kingdom’s diplomatic missions worldwide to mark Saudi National Day.

Having witnessed every major phase of photography, Babelli’s work reflects both technical evolution and artistic discipline.

“Photography evolved greatly since I started taking photos,” he said. “I remember I started with negative films. My first use of positive films was not successful; I came back with a film I could not develop from a visit to the Alhambra Palace in Spain in 1983.”

From manual film cameras to slide photography, medium format systems and eventually digital platforms, Babelli adapted.

“When digital cameras came into the market, I immediately started using the best of the line available,” he said. “I never went back to film.”

Despite advances in technology, Babelli remains firm in his belief that equipment alone does not define success.

“What is important is the eye of the photographer,” he said, advising young photographers to start with what they could afford and upgrade as their knowledge expands.

To date, Babelli’s most ambitious project to date is “Antiquity of Saudi Arabia.” The project began in 2009 and took 15 years to complete, with support from the Cultural Development Fund enabling its final stages.

The book, which presents Saudi Arabia’s archeological heritage in a structured chronological sequence, was published in September 2025 and unveiled at the Riyadh International Book Fair.

The 384-page volume documents antiquities from across the Kingdom, from the Stone Age and early human presence on the Arabian Peninsula to the unification of Saudi Arabia in the 1950s.

It was developed with the contribution of leading academics and archeology specialists, including university professors and former museum directors, some of whom remain actively involved in excavation work. This ensured the accuracy of the material and the correct contextual linking of images to their original archaeological sites.

“We started with the arrival of the ancient human into the Arabian Peninsula over 1.3 million years ago,” Babelli said. “The book covers the Stone Age, ancient civilizations, ancient Arab kingdoms, the Islamic era and the Saudi state.”

The volume combines art and visual storytelling with texts written by specialists and links to academic references, with photographs carefully selected from Babelli’s extensive archive.

“I took all opportunities to photograph as many objects as I was able to,” he said. “Selection of the photos was done jointly with Dr Awad Al-Zahrani and Abdulaziz Al-Omari to ensure the best representation of the subject.”

While most of Babelli’s work centers on Saudi heritage, one publication stands apart — a book dedicated to Al-Aqsa Mosque in Palestine. Published in 2017, it evolved through collaborations with international scholars and photographers.

Seeing his books reach global audiences and feature at official events remains deeply meaningful: “It is the ultimate success,” he said.

Babelli believes documenting places and history through photography is both a responsibility, legacy and faith, yet his guiding philosophy remains unchanged: “Do the best work you can to the highest quality level,” he said, quoting a verse from the Qur’an: “And say: ‘Work (righteousness): Soon will Allah observe your work, and (so will) His Messenger, and the Believers’.”