Fashion
Iran’s abandoned bases in Syria: Years of military expansion lie in ruins
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Mouldy half-finished food on bunk beds, discarded military uniforms and abandoned weapons – these are the remnants of an abrupt retreat from this base that once belonged to Iran and its affiliated groups in Syria.
The scene tells a story of panic. The forces stationed here fled with little warning, leaving behind a decade-long presence that unravelled in mere weeks.
Iran was Syrian President Bashar al-Assad’s most critical ally for more than 10 years. It deployed military advisers, mobilised foreign militias, and invested heavily in Syria’s war.
Its elite Islamic Revolutionary Guard Corps (IRGC) built deep networks of underground bases, supplying arms and training to thousands of fighters. For Iran, this was also part of its “security belt” against Israel.
We are near Khan Shaykhun town in Idlib province. Before Assad’s regime fell on 8 December, it was one of the key strategic locations for the IRGC and its allied groups.
From the main road, the entrance is barely visible, hidden behind piles of sand and rocks. A watchtower on a hilltop, still painted in the colours of the Iranian flag, overlooks the base.
A receipt notebook confirms the base’s name: The Position of Martyr Zahedi – named after Mohammad Reza Zahedi, a top IRGC commander who was assassinated in an alleged Israeli airstrike on Iran’s consulate in Syria on 1 April, 2024.
The supplies recently ordered – we found receipts for chocolates, rice, cooking oil – suggest daily life continued here until the last moments. But now the base has new occupants – two armed Uyghur fighters from Hayaat Tahrir al-Sham (HTS), the Islamist militant group whose leader Ahmed al-Sharaa has become the new interim president of Syria.
The Uyghurs arrived suddenly in a military vehicle, asking for our media accreditation.
“Iranians were here. They all fled,” one of them says, speaking in his mother tongue, a dialect of Turkish. “Whatever you see here is from them. Even these onions and the leftover foods.”
Boxes full of fresh onions in the courtyard have now germinated.
The base is a labyrinth of tunnels dug deep into white rocky hills. There are bunk beds in some rooms with no windows. The roof of one of the corridors is draped in fabric in the colours of the Iranian flag and there are a few Persian books on a rocky shelf.
They left behind documents containing sensitive information. All in Persian, they have details of fighters’ personal information, military personnel codes, home addresses, spouses’ names and mobile phone numbers in Iran. From the names, it’s clear that several fighters in this base were from the Afghan brigade that was formed by Iran to fight in Syria.
Sources linked to Iran-backed groups told BBC Persian that the base houses mainly Afghan forces accompanied by Iranian “military advisers” and their Iranian commanders.
Tehran’s main justification for its military involvement in Syria was “to fight against jihadi groups” and to protect “Shia holy shrines” against radical Sunni militants.
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It created paramilitary groups of mainly Afghan, Pakistani and Iraqi fighters.
Yet, when the final moment came, Iran was unprepared. Orders for retreat reached some bases at the very last moment. “Developments happened so fast,” a senior member of an Iran-backed Iraqi paramilitary group tells me. “The order was to just take your backpack and leave.”
Multiple sources close to the IRGC told the BBC that most of the forces had to flee to Iraq, and some were ordered to go to Lebanon or Russian bases to be evacuated from Syria by the Russians.
An HTS fighter, Mohammad al Rabbat, had witnessed the group’s advance from Idlib to Aleppo and Syria’s capital Damascus.
He says they thought their operation would take “about a year” and best, they’d “capture Aleppo in three to six months”. But to their surprise, they entered Aleppo in a matter of days.
The regime’s rapid downfall was brought about by a chain of events after Hamas’s 7 October attack on Israel.
That attack led to an escalation of Israeli air strikes against the IRGC and Iran-backed groups in Syria and a war against another key Iranian ally – the Lebanese militant group Hezbollah, whose leader was killed in an air strike.
This “situation of psychological collapse” for Iran and Hezbollah was central to their downfall, says 35-year-old fighter Rabbat.
But the most crucial blow came from within: there was a rift between Assad and his Iran-linked allies, he says.
“There was a complete breakdown of trust and military co-operation between them. IRGC-linked groups were blaming Assad of betrayal and believing that he is giving up their locations to Israel.”
As we pass through Khan Shaykhun, we come across a street painted in the colours of the Iranian flag. It leads to a school building that was being used as an Iranian headquarters.
On the wall at the entrance of the toilets, slogans read: “Down with Israel” and “Down with the USA”.
It was evident that these headquarters were also evacuated at short notice. We found documents classified as “highly sensitive”.
Abdullah, 65, and his family are among the very few locals who stayed and lived here alongside the IRGC-led groups. He says this life was hard.
His house is only a few metres away from the headquarters and in between, there are deep trenches with barbed wire.
“Movement at night was prohibited,” he says.
His neighbour’s home was turned into a military post. “They sat there with their guns pointing at the road, treating us all as suspects,” he recalls.
Most of the fighters didn’t even speak Arabic, he says. “They were Afghans, Iranians, Hezbollah. But we referred to them all as Iranians because Iran was controlling them.”
Abdullah’s wife Jourieh says she is happy that the “Iranian militias” have left, but still remembers the “stressful” moment before their withdrawal. She had thought they would be trapped in crossfire as Iran-backed groups were fortifying their positions and getting ready to fight, but then “they just vanished in a few hours”.
“This was an occupation. Iranian occupation,” says Abdo who, like others, has just returned here with his family after 10 years. His house had also become a military base.
I observed this anger towards Iran and a softer attitude towards Russia in many conversations with Syrians.
I asked Rabbat, the HTS fighter, why this was.
“Russians were dropping bombs from the sky and other than that, they were in their bases while Iranians and their militias were on the ground interacting. People were feeling their presence, and many weren’t happy with it,” he explained.
This feeling is reflected in Syria’s new rulers’ policy towards Iran.
The new authorities have put a ban on Iranian nationals, alongside Israelis, entering Syria. But there is no such ban against Russians.
Iran’s embassy, which was stormed by angry protesters after the fall of the regime, remains closed.
The reaction of Iranian officials towards developments in Syria has been contradictory.
While supreme leader Ali Khamenei called on “Syrian youths” to “resist” those who “have brought instability” to Syria, Iran’s foreign ministry has taken a more balanced view.
It says the country “backs any government supported by the Syrian people”.
In one of his first interviews, Syria’s new leader Sharaa described their victory over Assad as an “end of the Iranian project”. But he hasn’t ruled out having a “balanced” relationship with Tehran.
For the moment, though, Iran is not welcome in Syria. After years of expanding its military presence, everything Tehran built is now in ruins, both on the battlefield and, it seems, in the eyes of a large part of Syria’s public.
Back at the abandoned base, Iran’s military expansion was still under way even in the last days. Next to the camp were more tunnels under construction, apparently the beginnings of a field hospital. The cement on the walls was still wet and the paint fresh.
But left behind now is evidence of a brief fight – a few bullet shells and a military uniform covered with blood.
Taken from BBC News
Art & Culture
A payback kiss, a surprise win, and defying gravity at the Oscars
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An audible gasp was made by journalists in the winners’ room (where I was) when Mikey Madison was announced as the best actress winner.
Demi Moore was the favourite for much of this campaign. Things did shift after Madison’s Bafta win, but the race remained incredibly tight.
In the end, it was Madison’s night and marked an incredible moment for a 25-year-old actress who was relatively unknown before her role in Anora.
This is exactly the type of rags-to-riches story that awards ceremonies love – and the film itself celebrates.
The film tells the story of Madison, who plays a sex worker, who has a whirlwind ill-fated romance with the spoilt son of a Russian oligarch,
Edie Turquet, one of the young female dancers and strippers in the film, text me to say it was “insane” that a film about sex workers could win best picture at the Oscars.
“Hopefully this will lead to some amount of societal humanisation,” she said.
Cynthia and Ariana defy gravity
We all knew it was coming but Cynthia Erivo and Ariana Grande belting out Wicked’s anthem Defying Gravity was even better than we could have hoped for.
As Erivo, in a white gown, hit that final iconic note, the audience stood in applause.
The co-stars performed a medley of songs, including Somewhere Over the Rainbow, which Grande sang to open the show wearing a gorgeous red sequined dress.
Earlier in the night, Grande stunned on the red carpet with a champagne Schiaparelli gown, which leaned into her role as Glinda the Good Witch in the film.
“It’s giving chandelier,” one reporter said to me backstage. On social media the big question was: “How is she going to sit down in that dress?”
A payback kiss… 22 years later
On the red carpet, there was quite a moment when Halle Berry ran up to Adrien Brody and gave him a big kiss.
It recreated a moment at the 2003 Academy Awards, when Brody – having just won best actor for his performance in The Pianist – turned and kissed Berry, who had presented the award to him.
She told Variety: “I had to pay him back”.
Speaking to Extra, she added that the only reason she did it was because Brody’s girlfriend, Georgina Chapman, “was fine” with the scheme.
The Oscars wrote on X with a clip of the kiss: “A reunion 22 years in the making”.
A Timothee and Kylie kiss
Berry and Brody weren’t the only two seen locking lips.
Inside the ceremony at the Dolby Theatre, lovebirds Kylie Jenner and Timothée Chalamet were photographed sharing a kiss and laughing together.
Reality star and makeup mogul Jenner was there to support her boyfriend who was up for best actor – but ended up losing out to… Brody.
Adam Sandler storms out?
Actor Adam Sandler was in on the ongoing jokes about his typically casual attire.
Early on in the night, host Conan O’Brien called him out, saying he was “dressed like a guy playing video poker at 2am”.
(For reference, Sandler was in the audience wearing a blue hoodie and shorts, an ensemble that looked more at home on the basketball court).
Following a playful back and forth between the two, the actor walked into the aisle of the theatre and said he was “leaving” before going over to Timothee Chalamet and shouting his surname, in the way he previously did on Saturday Night Live.
Chalamet laughed along.
Los Angeles wildfires
This year’s Oscars race has played out against the grim backdrop of devastating wildfires in Los Angeles, which killed 29 people.
The Grammys and Golden Globes both made the fires a central theme of the show.
The Academy Awards mentioned it only a handful of times, signalling Hollywood is moving on.
There was, however, one powerful moment, when host Conan O’Brien welcomed some of the firefighters who fought the blazes on stage, with the audience clapping and giving the emergency workers a standing ovation.
O’Brien called them “heroes”, adding: “On behalf of everyone… thank you for all that you do,” he says.
He said there are some jokes that even he isn’t brave enough to tell – and asked some of the firefighters to read them out instead. He insists the crowd will have to laugh.
Los Angeles Fire Captain Erik Scott read one joke off a teleprompter that said their hearts go out to everyone who lost their homes – including the makers of Joker 2.
It gets a big laugh and O’Brien calls it the best joke delivery of the night.
Zoe Saldaña thanks her mommy
It was Zoe Saldaña’s first Oscar, winning best supporting actress for Emilia Pérez – a musical about a transgender Mexican drug lord – and it marked one of the most powerful and emotional speeches of the night.
She broke down in tears immediately, crying out “Mommy”, to her mother in the audience.
“I am floored by this honour,” she wept, paying tribute to her fellow nominees for their “loving and community”, saying “I will pay it forward”.
Praising the film’s cast and crew, she got emotional as she talked about her family.
“Everything brave, outrageous and good I’ve ever done in my life is because of you,” she said, praising her husband, his “beautiful hair” and their three sons.
“My grandmother came to this country in 1961 – I am a proud child of immigrant parents with dreams and dignity and hardworking hands.
“I’m the first American of Dominican origin to accept an Academy Award and I know I won’t be the last.
“Getting an award where I got to sing and speak in Spanish – this is for my grandmother.”
‘We couldn’t get a visa’
The month-long saga to obtain a US visa by two Iranian filmmakers ended in the pair winning the best animated short film Academy Award – with them rushing to even make the ceremony in Hollywood.
Hossein Molayemi and Shirin Sohani arrived at Los Angeles airport just hours before the Oscar award ceremony as due to begin.
After their plane landed, they quickly changed outfits in a public restroom and made it with only moments to go before they would win their award for their film, In the Shadow of the Cypress.
“It’s not our fault we are so late,” Sohani said on stage. “We couldn’t get a visa. It’s a difficult relationship” between the US and Iran, she explained.
“We are going to dedicate our award just to the fact we managed to make this film under the extraordinary circumstances of our country; until yesterday we hadn’t obtained our visa and now we are standing here with this statuette in our hands,” said Molayemi.
“It’s a miracle, and speaking in front of this expectant audience is very hard for us,” Molayemi said in his acceptance speech. “Yes, if we preserve and remain faithful, miracles will happen.”
‘Standing up to a powerful Russian’
As ever, politics reared its head during Sunday night’s ceremony.
Oscars host Conan O’Brien made a quip about how Anora was “having a good night”, before saying: “I guess Americans are excited to see somebody finally stand up to a powerful Russian.”
O’Brien must have been writing his monologue up to the very last minute, because the joke appeared to be a nod to the White House spat between Ukrainian President Volodymyr Zelensky and US President Donald Trump.
Meanwhile, the No Other Land documentary team descended on the red carpet wearing Palestinian scarves and Kufiya. Their film is set in the occupied West Bank. After they won for the film, the team took the stage and called out US policy in the region.
Kill Bill star Daryl Hannah also veered into politics while on stage. She referenced the war in Ukraine, saying “Slava Ukraini”, the country’s salute, as she presented an award.
But one person wasn’t mentioned.
Here in liberal Hollywood, you may have expected jokes and barbs toward US president Donald Trump – but his name didn’t come up even once.
Taken From BBC News
Entertainment
Afro-Asian Stories Woven in Crimson
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Anila Adnan, an accomplished Pakistani based in Nigeria,expressionist visual artist, enticed the audiences with her unique exhibition titled “Afro-Asian Stories Woven in Crimson” in Lahore, Pakistan, at the Ocean Art Gallery ,few weeks back.
The exhibition stands as a vibrant testament to the fusion of African and South Asian artistic traditions, reflecting her journey of navigating two diverse cultural landscapes. Through her paintings, Anila weaves together stories of identity, resilience, and shared traditions between Africa and South Asia, with crimson and ochre as the dominant colors, symbolizing both passion and deep-rooted cultural ties.
Anila Adnan holds a Master’s degree in Graphic Design (MFA) and has a passion for painting, muralism, horticulture, and teaching. She has developed a unique painting style and made a lasting impact in Pakistan, Nigeria, and beyond. Her dedication has earned her numerous awards, rewards, and recognition, both locally and internationally. As an interior decorator and painter, her clients span across Abuja, Lagos, Pakistan, and the globe.
The title of her exhibition, “Afro-Asian Stories Woven in Crimson,” itself conveys a powerful narrative. The choice of the word “woven” underscores Anila’s meticulous blending of two different worlds—Africa and South Asia—highlighting the historical, social, and artistic connections between them. Crimson, a color often associated with life, struggle, and vibrancy, plays a central role in her work. It symbolizes love and sacrifice, and in this context, it represents the entwining of her personal heritage with broader themes of cultural exchange and transformation.
Anila’s paintings are a striking combination of African and South Asian motifs, blending the geometric precision and bold patterns of African art with the intricate details and rich colors of South Asian traditions. In some works, her brushstrokes emulate the vivid, dynamic forms seen in Nigerian Ankara (fabric) art, while in others, she uses intricate floral designs reminiscent of traditional Pakistani truck art and miniature paintings.She also have a unique love for Mughal Architecture which she paints in her own style .This blending of styles reflects Anila’s deep understanding of both cultures and her desire to create a dialogue between them.
One of the most remarkable aspects of Anila’s work is her use of symbolism to tell stories of hardships and the day-to-day busy lives of ordinary women—their duties and responsibilities, which they perform with joy. Her paintings have a unique abstract style, depicting overlapping, fragmented, and intertwined lines, shapes, forms, and figures, symbolizing the complexity of identity when one is spread across multiple cultures and geographies. These figures, painted in shades of crimson and deep earth tones, reflect the idea of people as carriers of culture, tradition, and memory. In this way, her exhibition resonates with global audiences who grapple with questions of belonging, home, and the fluidity of identity.
Some of her pieces feature subtle references to colonial architecture, set against the backdrop of more modern, globalized symbols. This juxtaposition allows her to explore how these regions have been shaped by external forces while continuing to preserve their distinct cultural identities. The crimson thread in these works ties these stories together, representing the bloodlines of history, struggle, and resilience.
By painting women, whose presence in her works is bold and unapologetic, the figures stand as symbols of strength, embodying the complex roles women play in navigating traditional cultural expectations while asserting their independence and power.
Bringing her paintings to Lahore, a city renowned for its artistic and cultural history, Anila Adnan invites a Pakistani audience to engage with the vibrant world of Afro-Asian dialogue. The exhibition not only celebrates the richness of both African and South Asian artistic traditions but also opens up conversations about identity, heritage, and the connections between these two diverse regions. “Afro-Asian Stories Woven in Crimson” is more than just an exhibition; it is a deeply personal and global exploration of cultural hybridity, history, and the stories that bind us across continents.
Moreover, Anila’s meticulous attention to detail through her use of color adds layers of complexity to her work, inviting viewers to explore and engage with each piece on a deeper level. Whether it’s the subtle nuances of a facial expression or the intricate patterns adorning traditional attire, every element in Anila’s paintings serves a purpose, contributing to the overall narrative and message.
In essence, Anila’s Art Addiction gallery/studio is not just a space for creating art, but a platform for empowerment, representation, and cultural preservation. Through her series of paintings, Anila continues to make a profound impact, shaping the narrative of women in art and leaving an indelible mark on the creative landscape.
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*Contact Information*:
Tel.: +2347033646923
Instagram: @anilas_art_addition
Facebook: [www.facebook.com/artaddiction](http://www.facebook.com/artaddiction
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