Five years ago the Guardian asked me to evaluate the effects of the Tunisian uprising on the rest of the Arab world, and specifically Syria. I recognised the country was “by no means exempt from the pan-Arab crisis of unemployment, low wages and the stifling of civil society”, but nevertheless argued that “in the short to medium term, it seems highly unlikely that the Syrian regime will face a Tunisia-style challenge”.

That was published on 28 January 2011. On the same day a Syrian called Hasan Ali Akleh set himself alight in protest against the Assad regime in imitation of Mohamed Bouazizi’s self-immolation in Tunisia. Akleh’s act went largely unremarked, but on 17 February tradesmen at Hareeqa in Damascus responded to police brutality by gathering in their thousands to chant “The Syrian people won’t be humiliated”. This was unprecedented. Soon afterwards, the Deraa schoolboys were arrested and tortured for writing anti-regime graffiti. When their relatives protested on 18 March, and at least four were killed, the spiralling cycle of funerals, protests and gunfire was unleashed. In 2011, I wrote that Assad personally was popular, and so he remained until his 30 March speech to the ill-named People’s Assembly. Very many had suspended judgment until that moment, expecting an apology for the killings and an announcement of serious reforms. Instead, Assad threatened, indulged in conspiracy theories, and, worse, giggled repeatedly.

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"The Moroccans" is a series of life-sized photographic portraits shot in a mobile studio transported around Morocco. Tapping into my Moroccan heritage, I spent time staying with different communities to create photographs from the perspective of the participant observer, aiming for a more informed angle than an external documentarian might take. Rather than being objective, the series adopts the subjectivity of my own position as both an insider and native Moroccan, and simultaneously an outsider as the critically informed documentarian. This hybrid position echoes the postcolonial correction that globally conscious contemporary artists are now mounting worldwide to counterpoint the tired exoticization of North Africa and the Arab region by Euro-American artists through history.

The photographer Leila Alaoui has died on 18 January 2016 aged 33 of a heart attack after being shot in terrorist attacks in Ouagadougou, Burkina Faso. 

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