Please email Istanbul@www.beta.frontlineclub.com to register to attend this event

We are thrilled to announce our first Frontline Club event in Turkey on 21 January 2016, which will mark the start of regular screenings and discussions taking place in Istanbul as part of the Frontline International Partners programme. Alongside our substantial international activities across Russia and Eastern and Central Europe, Frontline Club Istanbul will promote a critical engagement with current affairs, stimulate a culture of informed and open debate, and support high-quality and independent journalism.

For this first Frontline Club Istanbul event, we are pleased to screen Sean McAllister’s 2015 award-winning documentary A Syrian Love Story for the first time in Turkey. The event will be introduced by Frontline Club founder Vaughan Smith, and followed by a discussion with filmmaker Sean McAllister and protagonist and Syrian opposition activist Raghda Hassan. The discussion will be moderated by NTV journalist Can Ertuna, who has covered conflicts across the Middle East, Africa and Asia, and is the author of Arap İsyanları Güncesi (Arab Uprisings Diary), published in 2014.

This screening will be held at SALT Galata and in collaboration with P24, a Turkish not-for-profit, civil society organisation that supports and promotes editorial independence in the Turkish press at a time when the journalistic profession is under increasingly fierce commercial and political threat.

The film:
Amer, 45, met Raghda, 40, in a Syrian prison cell 15 years ago. Over a number of months they communicated through a tiny hole they had secretly made in the wall. They fell in love and, following their release, married and started a family together. This film tells the poignant story of their family torn apart by the tyrannical Assad regime.

Filming began in Syria in 2009, prior to the wave of revolutions and ongoing changes in the Middle East. At the time, Raghda was a political prisoner and Amer was caring for their young children alone. McAllister filmed in the thriving heart of the Yarmouk Camp in Damascus – now an infamous news story as the Assad regime blocked all aid and food to its inhabitants.

This intimate family portrait probes to understand why people are literally dying for change in the Arab world. As Raghda is released from prison, filmmaker Sean McAllister himself is arrested for filming and the political pressure around all activists intensifies. The family flee to Lebanon, and then to France where they are given political asylum in the sleepy town of Albi, where they now watch the revolution from afar and wait for the fall of Assad.

However, in exile Raghda’s mental health suffers. We see their new life in France develop, but the war is now between them. In finding the freedom they fought so hard for, their relationship is beginning to fall apart.

A Syrian Love Story won the Grand Jury Prize at the 2015 Sheffield International Documentary Festival.

Directed by: Sean McAllister
Country: UK/France/Lebanon/Syria
Running time: 80′

For more information about the Frontline Club’s international activities in Turkey, Russia and Eastern and Central Europe, please contact phoebe.hall@www.beta.frontlineclub.com

L-R: Sean McAllister, Yasmin Alibhai-Brown and Amer Daoud

The plight of Syrians has returned to the headlines following the recent release of a tragic image of young Aylan Kurdi lying dead in the sand. It is easy to forget that the current situation in Syria, and the millions of refugees who have been forced to flee the country, has its roots in the Syrian Revolution of 2011 and the brutal response of the Assad regime.

In his latest film, A Syrian Love Story, Sean McAllister follows the story of one family torn apart by the political imprisonment of a mother, as they experience the civil war and finally find refuge in Paris.

On Wednesday 23 September, McAllister, alongside the film’s protagonist Amer Daoud and journalist Yasmin Alibhai-Brown, joined an audience at the Frontline Club for a Q&A following the screening.

Throughout the film, McAllister‘s close relationship to Daoud, his wife Raghda and their children is evident. “[McAllister became] part of the story in a way, which is quite a dangerous thing for a journalist,” said Alibhai-Brown. “We’re all trained: you must be distant, you just be objective, you must be balanced. All rubbish really.”

Yasmin Alibhai-Brown

McAllister, who has shot many films in the Middle East, told the Frontline Club that he felt guilty for only visiting countries when they were at war. “I’ve made films in Iraq under Saddam Hussein and after… I always remember them talking about the golden days, before war,” he said. When he heard someone say that Damascus in Syria was like Iraq in the golden days he thought he’d go and see for himself.

Before the Arab Spring uprising and the subsequent civil war, McAllister travelled to Syria to find a story. “I kind of fell in love with this place… there was fun with fear in those days and I was hanging out there for maybe, on and off in this insane way that we do making documentaries, about eight months,” he said.

In the film, McAllister says he met Daoud in a bar in Damascus, a serendipitous encounter that Alibhai-Brown seemed initially reluctant to believe.

“Yeah, I saw this man, he asked everybody in the street: ‘What do you think about freedom? Is Syria free? And what do you think about this president Bashar al-Assad, why is his picture everywhere?’” Daoud said of McAllister. “He’s crazy to ask these questions.”

Daoud told the Frontline Club audience that he was worried at first when McAllister began to ask him these dangerous questions. “That’s why it took five years to make [the film],” said McAllister. “It took me two years to get [Daoud’s] trust and then his wife came out of prison and she didn’t trust me for another two years.”

Although the film focuses very centrally on Daoud and Raghda’s relationship, McAllister said that this was not the focus from the outset. In fact, McAllister’s initial failure to secure a commission for the film had a significant impact on its direction.

“It wasn’t that I was planning it, it wasn’t a master plan, I just couldn’t get it commissioned,” he said. “If it had been commissioned earlier it would have been an Arab Spring film that would have been largely around the topical events of the time.”

When Daoud and his family left Syria, McAllister said he was initially worried that the film would lose momentum. “But actually,” he said, “what started to happen between them for me as a filmmaker was much more interesting in France. And it was this fragmentation… this disillusionment and disconnection to this whole place.”

McAllister also said that once Daoud had moved to France, he became a lot more involved in their relationship. “My role became even more connected. They would call one week, [Daoud] would call me up and say: ‘You’ve got to come now, tomorrow, we don’t know what the fuck’s going on. You’re the only person that’s been with us on all of this, you can make sense. And the next week [Raghda] would be calling me up saying, ‘Sean, come now’.

“Because although these people that have gone through so much talk to so many interesting people that want to help, they’re looking in the eyes of people that really don’t know what they’ve been through. And I think that’s the disassociation, the disconnection we have with this tragedy in Europe now.”

Amer Daoud

Daoud explained why many refugees were so desperate to come to Europe. His experience of being a refugee in Lebanon, he told the Frontline Club, was one of purgatory. “You cannot imagine how you live without papers, without food, without anybody to take care of you. What are you? Nothing. You are waiting for just one thing: death. All the refugees are the same. They have a hope to come to Europe,” he said.

L-R: Yasmin Alibhai-Brown, Sean McAllister and Amer Daoud

A Syrian Love Story has started to gain more traction than McAllister is used to. He admitted that despite his best efforts, most of his work finds a niche audience. “My target audience is three mates back in Hull that don’t give a monkeys about wherever I go… and try to get them into that space” he said. “Usually that doesn’t matter and it still goes out to 265 people on BBC Four.” However, on this occasion current events have pushed the film out to more people.

“You deliver a good film and there’s unfortunately a dead body of a boy swept up on a beach,” said McAllister referring to the photo of Alyan Kurdi published earlier this month. Due to the urgency these photos have given to the refugee story, A Syrian Love Story will be broadcast in a prime BBC One slot.

“It’s not easy for eight million Syrian refugees, it’s not easy. But I think we can find a way to press our governments somehow, in Europe, to organise travel between Europe and the places of refugees,” said Daoud.

However, as McAllister said, it is much harder to support refugees in their emotional upheaval. “We went to some of the camps in Bulgaria and places on the border and it was just horrendous. I mean it was so bad that the refugees there, having been beaten up by the Bulgarian police, were trying to get back to Syria,” said McAllister.

He did not blame Bulgaria, but said there needed to be a more concerted effort.

“What we don’t really realise is how many people live like [Daoud],” said McAllister. “I think he moved houses about 16 times in the making of this film and there were times I knew he didn’t have anything, that they’d not eaten for days. And that’s not unusual for a lot of people in his situation.”

A member of the Frontline audience asked Daoud how, after leaving everything behind in Syria, he supports himself and his family. “How do I support myself?” he said, “I train my face to smile everyday.”

Sean McAllister (left) and Amer Daoud

Visit the A Syrian Love Story website for more information on the film and upcoming screenings.

In collaboration with the Syrian Association for Missing and Conscience Detainees and the National Coalition of Syrian Revolution and Opposition Forces we are hosting The Caesar Exhibition at the Frontline Club for one day only.

10:00 AM – 6:00 PM
The images will be on display – there is no need to book to attend.

3:00 PM – 4.45 PM
Stephen Rapp, Ambassador-at-Large for War Crimes, will give a speech and is available for questions.

Ambassador Stephen Rapp was appointed Ambassador-at-Large for War Crimes by President Barack Obama, and confirmed by the US Senate on September 8, 2009, where he led the State Department’s Office of Global Criminal Justice. In that position he advised the Secretary of State and the Under Secretary for Civilian Security, Democracy, and Human Rights and worked to formulate US Policy on prevention and accountability for mass atrocities.

He is the most prominent Obama administration official who has spoken out against “atrocities” by the Syrian regime. Currently the Ambassador is spearheading efforts to begin prosecutions against the Assad regime across Europe. He works closely with the Caesar team as the main advocate on legal issues and accountability.

7:00 – 8.30 PM
Panel discussion on ensuring accountability and justice

The thousands of Syrian refugees embarking on a perilous journey to find a new life away from the barrel bombs of Bashar al-Assad, his torture centres as depicted in the Caesar photographs and the threat of the self-styled Islamic State has refocused attention on the war in Syria. With renewed calls for action we will be bringing together a panel to discuss the realities Syrians are fleeing from and how to ensure that they get the accountability and justice they deserve.

Chaired by Ian Black,the Guardian‘s Middle East editor. In more than 25 years on the paper he has also been its European editor, diplomatic editor, foreign leader writer and Middle East correspondent.

The panel:

Mouaz Moustafa was born and raised in Damascus before moving to US at the age of 12. He is the current executive director for the Syrian Emergency Task Force, a non-profit organisation based in Washington DC that advocates for a political solution to the Syrian conflict and alleviating the humanitarian suffering of Syrian refugees. Previously, he worked as a staffer for US Congressman Vic Snyder and Senator Blanche Lincoln, and worked briefly with the Egyptian opposition. Moustafa is also a member of the Syrian Association for Missing and Conscience, and will represent the ‘Caesar’ team at the exhibition.

Usahma Felix Darrah is a German-Syrian activist based in Berlin. He is an expert in politics, Islamic studies, international law and a doctor in modern Syria. He worked as a lecturer in Middle East politics at the Arab-European University in Damascus and as strategic project officer in the city of Heidelberg. In Berlin, he is board member of the Association of German-Syrian Humanitarian Organisations and collaborates with the Representative of the Syrian National Coalition to Germany.

Kristyan Benedict is the campaign manager for Amnesty International UK. In this role, he manages Amnesty International’s crisis and tactical campaigning in the UK. Benedict’s responsibilities cover several conflicts, with the priority effort on the Syria crisis. This specifically includes a focus on transition, accountability and humanitarian access needs in the conflict.

The Caesar Exhibition displays photographs of detainees from the Syrian regime’s prisons and detention centres. The photographs were taken by a former military policeman of the Syrian army – known by the pseudonym “Caesar” – who fled Syria in 2013. Caesar smuggled out with him over 55,000 photos of approximately 11,000 Syrians tortured by the Assad regime. The 11,000 victims he photographed represent only a fraction of the systematic torture and killing that took place inside the Syrian regime’s prisons. After thorough analysis by a first-rate legal and forensic team in early 2014, the “Caesar” photographs were shared with and processed by the United Nations Independent International Commission of Inquiry (COI), which cited them as clear evidence of systematic human rights violations by the Assad regime. Most recently, the FBI verified the photographs as credible evidence for future legal procedures.

The exhibition of photographs has been shown at the UN in New York, US Congress and the Holocaust Memorial Museum in Washington DC, and the European Parliament in Brussels.

WARNING The images displayed in this exhibition are disturbing.

Amer, 45, met Raghda, 40, in a Syrian prison cell 15 years ago. Over a number of months they communicated through a tiny hole they had secretly made in the wall. They fell in love and, following their release, married and started a family together.

This film tells the poignant story of their family torn apart by the tyrannical Assad dictatorship. Filming began in Syria in 2009, prior to the wave of revolutions and ongoing changes in the Middle East. At the time, Raghda was a political prisoner and Amer was caring for their young children alone. McAllister filmed in the thriving heart of the Yarmouk Camp in Damascus – now an infamous news story as the Assad regime blocked all aid and food to its inhabitants.

This intimate family portrait probes to understand why people are literally dying for change in the Arab world. As Raghda is released from prison, filmmaker Sean McAllister himself is arrested for filming and the political pressure around all activists intensifies. The family flee to Lebanon, and then to France where they are given political asylum in the sleepy town of Albi, where they now watch the revolution from afar and wait for the fall of Assad.

However, in exile Raghda’s mental heath suffers. We see their new life in France develop, but the war is now between them. In finding the freedom they fought so hard for, their relationship is beginning to fall apart.

A Syrian Love Story won the Grand Jury Prize at the 2015 Sheffield International Documentary Festival.

Directed by: Sean McAllister
Country: UK/France/Lebanon/Syria
Running time: 80′

In the Summer of 2012 she squeezed through a gap in the fence on the Turkish border and found herself back in her homeland. This was the first of several dangerous clandestine trips to the North of the country, where she set about documenting the struggle of men, women and children simply trying to stay alive.

Weaving together stories of hardship and brutality with touches of humanity, her new book The Crossing is testimony to the appalling reality that is Syria today. She will be joining us in conversation with Syrian writer and broadcaster, Rana Kabbani, to share her observations and what she has heard from the Syrian people about their hopes and fears for the future.

Samar Yazbek studied Arabic literature before spending a decade as a journalist for various newspapers including Al-Hayat and presenting a cultural programme for Syrian television. In 2010, as a recognition of her fiction writing, the Hay Festival named her as one of the Beirut39, a group of Arab writers under the age of 40. Following the uprising against the Assad regime, Yazbek was forced into exile and now lives in Paris with her daughter.

PLEASE NOTE THIS EVENT WILL BE FILMED AND STREAMED LIVE ON OUR YOUTUBE CHANNEL

Red lines have been set and crossed, inquiries have been conducted and talks have been attempted, and yet the conflict in Syria continues to devastate the lives of its population. In what can only be described as one of the worst humanitarian crises in recent history, more than 200,000 have died and 12.2 million are now in desperate need of aid.

The levels of suffering are unimaginable and yet the international community seems to be standing by. Over four years since the conflict in Syria began, we will be asking if there is any sign of light at the end of the tunnel.

We will be reflecting on the decisions that have been made and how they have contributed to the current state of affairs in Syria. With that understanding, we will look at the situation in the country today and how developments could be made.

Chaired by Owen Bennett-Jones, freelance journalist and host of Newshour on the BBC World Service. As a correspondent with the BBC he has reported from over 60 countries. He is author of Pakistan: Eye of the Storm and his first novel Target Britain.

The panel:

Jonathan Littell is a novelist and journalist. He is the author of Syrian Notebooks: Inside the Homs Uprising, documenting his time in Hom in 2012. His novel The Kindly Ones, originally published in French as Les Bienveillantes, became a bestseller and won the coveted Prix Goncourt and the Académie Française’s Prix de Littérature. Previously he worked for a humanitarian agency, Action Contre La Faim, in Bosnia, Chechnya, Afghanistan and the Democratic Republic of Congo.

Orwa Nyrabia is a Syrian film producer and activist. Born in 1977, raised in Homs, he lived in Damascus until the end of 2013. An actor by training, he worked as a journalist, and since 2005 has dedicated most of his time to documentary, producing the award-winning Silvered Water and Return to Homs. As an activist, he was a board member of the Syrian revolution’s leading constellation, Local Coordination Committees (LCC), served as LCC’s head of humanitarian aid and is associated with the Violations Documentation Center, a Syrian independent human rights organisation.

Laila Alodaat is a Syrian human rights lawyer specialising in international law of armed conflicts. She is also a trainer of international humanitarian law and has worked on several conflict situations including Syria, Libya, Iraq and Pakistan. She currently works on the MENA agenda programme at the Women’s International League for Peace and Freedom (WILPF) and is also the Chair person of Syria Justice and Accountability Centre and a board member of Badael, a Syrian organisation working to promote non-violence.

Nerma Jelacic is a former journalist who has spent the last 15 years working on war crimes and criminal justice issues in conflict and post-conflict countries. From 2008 to 2014 she worked for the International Criminal Tribunal for the Former Yugoslavia before joining the Commission for International Justice and Accountability (CIJA), an organisation investigating and documenting atrocities in Syria which has already resulted in the completion of three trial-ready case-files.

PLEASE NOTE THIS EVENT WILL BE FILMED AND STREAMED LIVE ON OUR YOUTUBE CHANNEL

Photo: Ayman Oghanna. ALEPPO, August 3rd 2012. In areas liberated by the Free Syrian Army, protestors took to Aleppo’s streets to demonstrate against the Assad regime, following Friday prayers.

A compelling Frontline Club event on Wednesday 25 June showcased film and photographic work from across the globe that revealed both the depth of suffering and the strength of human spirit in some of the world’s most devastating internal conflicts.

Featured at the event was a series of photographs from Tim Freccia in South Sudan, Alvaro Ybarra Zavala in Venezuela, Eman Mohammed in Gaza and Daniel Berehulak in Afghanistan, curated by multimedia photojournalist and filmmaker John D McHugh.

The event culminated in a screening of Ground Zero Syria, a dramatic film by Robert King featuring unprecedented footage of the brutal conflict in Syria, and an impassioned interview with King by The Times journalist Anthony Loyd that offered some chilling conclusions about the future of the conflict.

Robert King and Anthony Loyd at the Frontline Club.

All of the showcased work shared a common theme: that of the determination of each journalist to bring to light the plight of people facing oppression or armed struggle in their home countries, and to reveal the characters of those individuals caught up in some of the world’s most dangerous conflicts.

Among Freccia’s work was a set of portraits of soldiers from the White Army, a ruthless militia group fighting alongside former Vice President Riek Machar in his campaign against the government of South Sudan.

In Freccia’s unique portraits, presented against a white background, he aimed to show through the expressions and postures of his subjects the “humanity present in these characters, for good or bad, which is often neglected”.

Zavala’s photographs were captured in Caracas and San Cristobal in February and March this year as the protests against Venezuela’s government escalated.

A picture of a woman slumped over the coffin of a lost loved one revealed the sacrifices made by the protestors, while another featured a combatant in plastic protective glasses making Molotov cocktails to take into the fray.

Mohammed took up photojournalism at the age of 19. In a narration of her photographs, she explained how she had to overcome cultural barriers to a woman pursuing such a career.

“I thought I had what it took to be a career photographer,” she said. “I was wrong. To gain acceptance in a male dominated field was next to impossible.”

Covering the war in Gaza in 2008-09 and under fire from aerial bomb attacks, the ground “shaking like a swing beneath us”, Mohammed was abandoned by the two male journalists with whom she was travelling. “Terrified, humiliated and feeling sorry for myself”, she learned a valuable lesson.

Mohammed‘s career has been characterised by a constant tension between capturing her own agony and that of others:

“You can freeze, but your camera cannot. If you don’t document history, it never happened.”

Her work included touching portraits of Mohamed Hodr, who along with 22 members of his family lived for several years beneath the rubble of what was once his home.

The only surviving remnant of what was to be a retirement retreat was a jacuzzi, which he hauled up to the roof of his shattered home so that each morning he could give his children a bubble bath.

Berehulak’s work focused on the terrible impact that the rapidly rising use of heroin in Afghanistan is having on the local population. One in 10 urban households in the country has at least one drug user, and in rural areas heroin use is as high as 30 per cent.

A set of photographs of one hospital ward that was admitting 200 children a month for severe malnutrition featured pictures of young children so wrinkled with starvation that they looked more like the elderly than the newly born. At a year-and-a-half, Mohammed weighed just 10 pounds.

“Nearly every potential lifeline is strained or broken here,” said Berehulak in his narration. “Women are kept away from everyone except those in their immediate family.

“Farmers can’t grow crops because of mines, and doctors can’t get to children until the situation is already severe. Women can’t nourish their own children [because of the heroin use].”

At the country’s premier children’s hospital in Kabul, a five-year-old boy weighing just 20 pounds was being treated on a bench because the infusion line wouldn’t reach to a bed. The drug problem, said the director of demand reduction at the ministry of health, is a tsunami for his country.

Ground Zero Syria

Screened in the second half of the event, King’s film gave a unique insight into the fighters of the opposition Free Syrian Army (FSA) in their efforts to survive the brutal attacks of Bashar al-Assad’s regime.

“For six to seven months we didn’t even think about picking up weapons,” said one.

“We started out with olive branches, but [in the end] the only option was to take up arms and put him [Assad] out of office.”

At a field hospital in Al-Qusayr, southwest of Homs near the border with Lebanon, a young boy looked forlornly up at the camera with a single streak of blood spilling from the corner of his mouth. Across the ward, another child’s guts were bursting through his sundered stomach.

“If I die when I help people it is good for me,” said a doctor at the hospital. “I’m a doctor, I must help people.”

At the Dar al-Shifa field hospital in Aleppo, Dr Osman, a physician at the hospital, explained how he had nightmares about amputating children’s limbs, but each day resisted the urge to return to normal life because there was no one else to help these people.

According to Osman, about 80 per cent of the patients at Dar al-Shifa are civilians. At the time of the interview, the hospital had already been bombed five times, with another 15 bombings nearby.

“The Syrian regime considers medical staff as a perfect target, as a military target,” he said.  “When you kill one doctor it is better than killing a thousand fighters.”

In November 2012, King was there when the hospital was hit yet again, but still hope was not vanquished.

“Dar al-Shifa is not a building, it’s not a machine; it’s people, it’s doctors, nurses,” said Osman, speaking amidst the rubble.

“We will continue. We will build this hospital again and we will work again.”

In one striking scene, Dr Abaman, a former veterinarian working as an assistant physician at the hospital, appealed directly to the camera, emotion cracking his voice:

“We have enough shown TV. Do something. Do something. We are suffering here alone.”

The film also featured the tragic burning of Aleppo’s market, a world heritage site and one of the world’s best-preserved souks.

King asked Ahmed Alhaji, who had witnessed the fire, to explain what he had seen.

“I saw a lot of things that make me cry,” he said. “I saw Assad destroy our history. My heart is broken, I was crying blood.”

Towards the end of the film, King asked an FSA fighter what he thought of the West’s Syria policy. The West’s inaction before – and even after – evidence came to light of the use of chemical weapons in Syria, he said, was a sign to Assad that:

“Whatever you want to do, go ahead and do it. You want to kill 100,000 people that’s okay; you want to drop 100,000 tonnes of bombs that’s fine. Chemical weapons? Just keep 20–30 per cent of them.”

Most of the characters featured in the film, said King, are now dead.

Beyond the obvious perils of filming during an almost constant artillery bombardment, King faced his own challenges in shooting the film, not least the very lack of engagement from the West and its media that was alluded to by the film’s characters.

“I had to reassess why I was risking my life to cover slaughter,” said King in the Q&A with Loyd.

“I’d been there for four months and had photographed 5,000 dead bodies and nobody cared. No one would buy my photographs, so I started shooting video.”

The politics within Syria were also a source of frustration for King. He saw a shipment of powdered milk he had helped facilitate first held up in customs and then less than welcomed by those who had been benefiting from the black market in the product.

Those people who had helped him gain access to the country started to try to influence his material and, when he refused, banned him from going back.

“In the first year I figured that their politics were holding up the medical needs of the community,” said King. “Then they wanted to control the message.”

Asked by members of the audience whether his work could be used to try the perpetrators of the violence, King expressed his frustration with the absence of a more effective international legal system:

“If there was an international court of law that could hold people accountable for their war crimes . . . but why give my stuff to some organisation that fantasises that it can prosecute people?”

Loyd and King agreed that the future for the country is bleak and the potential fallout dire.

“The war launched against Al Qaeda was one thing,” said Loyd, wearing a cast around his leg after sustaining gunshot injuries in the latest of many reporting trips to Syria.

“Now something far worse [Islamic State in Iraq and Al-Sham (ISIS)] has taken up a huge block of the Middle East running almost to the Mediterranean, and the West is aghast as to how to deal with the situation.

“Syria has raised a huge question mark and nobody knows what to do.”

King is convinced that chemical weapons have been smuggled out of Syria and have already reached Western European capitals. Asked whether he was planning to go back to Syria, he said:

“I don’t have to go to Syria. It’s done. It’s here. It’s over. I’m going to sit and wait.”

https://soundcloud.com/frontlineclub/isis-and-the-battle-for-syria

The uprising in Syria began as a battle between Syrians and the regime of Bashar al-Assad, but the situation in the country now is much more complicated. With foreign fighters streaming in to join al-Qaeda-affiliated groups, such as the Islamic State of Iraq and the Levant (ISIS), the conflict has entered a new phase.

As fighting between the Syrian opposition and al-Qaeda-affiliated groups intensifies, we will be bringing together a panel to offer a picture of what is happening on the ground in Syria. We will be looking at the groups involved, how they have developed, and their power and influence in the country and further afield.

With the conflict spilling into Iraq, we will be asking what the international community should be doing to prevent further expansion of groups such as ISIS in the region.

Chaired by Lindsey Hilsum, international editor at Channel 4 News and author of Sandstorm; Libya in the Time of Revolution.

The panel:

Raffaello Pantucci is a senior research fellow at the Royal United Services Institute for Defence and Security Studies (RUSI).

Aymenn Jawad Al-Tamimi is a student at Brasenose College, Oxford University, and a Shillman-Ginsburg at the Middle East Forum. He focuses on developments in Syria and Iraq, particularly jihadist militant groups.

Kim Sengupta is the defence and diplomatic correspondent at The Independent.

Malik Al-Abdeh is a British-Syrian freelance journalist based between London and Antakya. He previously worked for the BBC and Reuters and was co-founder of Barada TV. He now reports from inside Syria and serves as a consultant on Syrian affairs for NGOs and media organisations.

Photography: Ayman Oghanna

ALEPPO, August 3rd 2012. In areas liberated by the Free Syrian Army, protestors took to Aleppo’s streets to demonstrate against the Assad regime, following Friday prayers.

“It’s a town hall style meeting – we quickly come to you,” BBC 4‘s Paddy O’Connell told a sold-out First Wednesday audience at the Frontline Club yesterday evening.  The topic was intervention in Syria, and with four experts by his side, O’Connell led a lively back-and-forth with the night’s attendees.

“Here we are talking about your country and bombing it, which we do regularly in the Middle East, don’t we?” he jibed to Lina Sinjab, who was born in Syria and worked as the BBC’s correspondent there until a few months ago.

L-R: Paddy O’Connell, Scott Lucas, Lina Sinjab, Shiraz Maher, Jonathan Steele. Photo: Jim Treadway

Sinjab, however, emphasised the necessity of stepping in.  With conservative estimates that 80,000 people have been killed and two million have fled the country, she opined:

“The reality on the ground is pushing Syrians – they have no other options. They know the Americans are coming for their own interest, but there is no other way to stop the bleeding of Syrians on a daily basis.”

Only one of the four experts argued against intervention:  Jonathan Steele, a columnist at The Guardian and longtime foreign correspondent.

“It would be a disaster,” Steele said.  “We don’t know what the repercussions would be… In Iraq and Afghanistan, we were told it’d be short and quick and surgical and all the rest of it, and they turn out not to be.”

But Syrians today are in a different position than Iraqis or Afghans a decade ago, Steele’s co-panelists felt.  Shiraz Maher is an expert on terrorism and Islamic groups in the Middle East, and to him, a critical factor is how much Syrians want an intervention:

“The Syrian people themselves have been calling for some form of intervention, for some form of outside help to come into Syria and tip the balance, and just to level that playing field…

” I’m not saying it would be clean [or] perfect. . . . Yes, if the West intervenes, we will inevitably kill, indirectly, and unintentionally, some civilians. But if we stand back, [Assad’s] regime continues to do the same thing – every single day.”

What should an intervention look like, then?

Sinjab, Maher, and Scott Lucas all withered at the idea of limited bombing.  Lucas, a professor at Birmingham University and expert on U.S. and U.K. involvement in the Middle East, explained:

“The question [shouldn’t] be on bombing. It should be on a longer term question of support for the insurgency. . . . It is a myth that Al Qaeda groups are dominating the insurgency. It’s a question of arms supplies: do you provide anti-aircraft and anti-tank weaponry to the insurgents which negates the weapons that Assad continues to have to basically maintain dominance? Do you support a no-fly zone or a protected zone that took place in Libya in 2011, which allowed people to be protected, and the opposition therefore could move against Qaddafi?”

The greatest danger to Syrians, Sinjab, Maher, and Lucas feared, was an intervention too weak or misguided.

“For Assad, for the Syrian Ba’athists,” Maher said, “this struggle is an existential one…  They [will] kill whatever number it takes [to survive].”

To protect Syrians, they saw a need for much more than just “a shot across the bow,” as U.S. President Obama has imagined.  In Sinjab’s words, Syrians

“are very fearful of:  if the Americans only did a ‘shot across the bow,’ and it was [only] a limited target, then the Assad forceswould retaliate big time on the people.”

https://soundcloud.com/frontlineclub/first-wednesday-syria-crossing

As the violence in Syria spreads to the capital Damascus and the latest reports confirm the deaths of top government ministers, it is certain that the revolution there is entering a new phase. Many analysts believe that it is not now a question of “if” the Syrian regime collapses from within, but “when".

A conversation with Samar Yazbek, a Syrian journalist and writer, therefore couldn’t have been more timely. She is an opposition activists and human rights defenders, she is also a member of the minority Alawite community, which is probably the only thing in common she has with the President Bashar Al Assad. When describing the ruling family, Yazbek certainly did not mince her words.

Bashar Al Assad and his family have always seen Syrian citizens as slaves. He was never chosen by the people to be the president. He is ready to destroy Syria, he will completely divide it up, turn it into ruins before letting go of power,” she said.

The regime in Syria is a family that has been building alliances for 40 years. Bashar Al Assad is a front for this mafia alliance of families who are basically criminals.”

Yazbek also gives a nuanced analysis how, throughout the decades, the Assad and a cluster of several other families – both Alawite and some Sunni – have turned Syria into, what she calls, “an explosive society.”

The Syrian secret service have the upper hand in the Syrian society, that’s how it’s been carefully created for 40 years. The Assads eliminated all the fellow officers who had helped them in the 1970s coup. Those were the origins of, what I call, explosive society.

They worked on undermining of the social context of the Alawite sect. Little by little they made the Alawite sect synonymous with the totalitarian regime, they made sure its survival depended on the regime.

They also enhanced the divisions between various tribes, giving them control over different sectors within the secret service, which has always been recruited mainly from the coastal, Alawite regions, but not exclusively. The Assad regime built strong alliances with the wealthy merchant class from the Sunni community.

He also undermined the rule of the national army, despite the propaganda you hear. The secret service controls them too.”

Yazbek says that this clever social engineering brought a lot of resentment from large parts of the Syrian society, which had started to simmer long before the first protesters, emboldened by the events in Tunisia and Egypt, took to streets demanding change. However, in the early months of the revolution, the overthrowing of the ruling family was not yet on the agenda:

"In the first four months of the revolution the people demanded change – reform – but not the overthrow of the regime. They did not want the division along the sectarian lines, they did not want the country to be run by Alawites or Sunnis alone.

The regime at the time accused all of the protestors of being armed gangs. But I was there, all protests were peaceful. I remember once I was standing next to someone who was shot by a government sniper from a nearby building. I can tell you now – if these people had been armed, I never would have supported this revolution. The armed forces were the security forces of Bashar Al Assad.”

More recently there have been accusation by the generally supportive Western media that the Syrian opposition are conducting massacres of their own people to push for a Libya-style intervention, which Yazbek categorically denies.