Historians have recently started listening to the past, contributing to what David Howes has described as a “sensorial revolution in the humanities and social sciences.” In the same way that all five senses are relevant to our daily understanding of the world around us, they should be vital to our understanding of historical events. Interpreting how peoples of the past sensorially experienced their world makes possible a richer, more comprehensive grasp of historical events. A sensorially grounded historical narrative is an embodied history that is connected to everyday people and lives. Historians of the Middle East, however, with few exceptions, are still largely producing soundproof, devocalized narratives of the past.

A dearth of information is available on workingwomen in the Middle East during the 19th and first half of the 20th century. This gap is compounded by the male biases of the official reporters, journalists, unionists, labor activists, and scholars who produced the information that does exist. Nevertheless, it is possible to write a gendered history of labor on the basis of less-than-ideal sources, which can be enriched by the use of oral history, popular literature, autobiographies, and even fieldwork focused on women's and men's family relations and work patterns.

The study of the Middle East is witnessing a sea change (excuse the maritime metaphor). The traditional geographic poles of Middle East studies (Turkey, Egypt, the Levant, and Iraq) stand firm, but are now facing a challenge from places once thought to be peripheral to the historiography: namely, South Arabia and the Gulf. The rising tide of scholarship on those areas is due in large measure to the opportunities that now present themselves in resituating them historically, and thinking about them as part of broader transoceanic worlds. This reorientation has made itself clear in the growing number of publications that wrestle with the Middle East's maritime frontiers—especially in the sister disciplines of history and anthropology. Here I limit myself to just one of those disciplines—history—and chart out the waves of contact between historians of the Middle East and the Indian Ocean. I offer no argument, but rather a survey of where the field has been and the opportunities that lie ahead.

With a more than sixty-seven-year displacement, the Palestinian refugee case is an extreme instance of a widespread phenomenon: the need for humanitarian organizations that are oriented toward emergency to respond to circumstances that are “protracted.” Humanitarian practice does change as needs on the ground change, but long-term need and displacement poses both definitional and practical challenges for this work. The broad trajectory of Palestinian refugee experience has moved from “crisis” to chronic needs—what Elizabeth Povinelli calls “cruddy” conditions. Povinelli specifically contrasts suffering that is “catastrophic, crisis-laden, and sublime” with that which is “ordinary, chronic, and cruddy.” Palestinians share experiences of poverty and immobility with others around the world who are part of what is sometimes referred to as the “precariat.” It is this sort of suffering, which often persists below the threshold of an “event,” that Povinelli terms cruddy.

What can we gain by looking at maritime spaces? Does this enable us to work towards a global history of the Middle East that moves beyond at times arbitrary geographical and disciplinary borders? In this essay I argue that maritime spaces might be particularly suitable for exploring the boundaries of Middle East studies and their interconnection with global history. By implication, the study of Middle Eastern maritime connections might be especially well fitted to develop new and more complex global histories. To make this point, a specific and perhaps unusual maritime site in the Middle East will be assessed. The Suez Canal opened in 1869 and quickly turned into a major artery of traffic between Europe on the one side, and Asia, East Africa, and Australia on the other. More importantly for our purposes, it is located at the very heart of the Middle East, where Africa and Asia, the Mediterranean and the Red Sea (and with it the Indian Ocean world), and water and desert intersect.

Middle East gender studies is a lively and fascinating field. With two very different journals (Hawwa and Journal of Middle East Women Studies) and dozens of panels at the Middle East Studies Association Annual Conference and the World Congress for Middle Eastern Studies, we have come a long way over the last two decades. Women's, queer, and masculinity studies are now part of how we understand gender studies in the region. Middle East gender studies does, however, remain marginal in two fields—Middle East studies and gender studies. It is normally assigned to the end of a Middle East studies conference (“and gender”), or, conversely, to the end of a gender studies conference or edited volume (“and elsewhere”). But can a discussion of technology or World War I in the modern Middle East weave in insights gained from gender or queer studies? And can a discussion of women's movements or women's labor incorporate what we know about the Middle East? I believe that more can be done to mainstream gender in Middle East studies, and to mainstream the Middle East in gender studies. Transnational history is a particularly promising direction for this endeavor.

As I write, the Syrian migrant crisis is boiling over and the Arctic Circle has become the latest precarious route desperate Syrian refugees are braving in their pursuit of security and shelter. A young Syrian woman is interviewed on the Norwegian evening news. Earlier this year other members of her family had fled to Germany. She stayed in Syria, waiting to hear from them before setting out herself. When she finally managed to get a call through to her family, they recounted the humiliating agonies they had endured on their journey through Turkey and advised her to find another route. She decided to take the new migration route to Europe, the safer and less expensive Arctic route, as far as possible from the horrors of war. She doesn't go into the details of her long journey, other than to say that she has been hungry for a couple of years, often dizzy from hunger. As she is interviewed in the polar night, she stands in front of a building decorated with Christmas lights, a Bethlehem star in each of the windows, skinny pines covered in frost in the background, snow on the ground: “I don't mind that my ears are frozen and that I can see my breath. I want to be safe and have a dignified life. Get a proper education, work, and be able to feed myself.” The camera shows other Syrian families with young children, single men and women, and girls and boys, traveling alone. Volunteers from the “Refugees Welcome to Norway” (RWTN) association distribute warm clothes, nappies, prams, toys, coffee, tea, sandwiches, and traditional Christmas cakes.

On the evening of 14 July 2013, while living in Istanbul, I walked down Kumbaracı Yokuşu away from the sounds of protest to the city's contemporary art museum. As part of the Istanbul Jazz Festival lineup, the Istanbul Modern screened director Batu Akyol's documentary Türkiye'de Caz (Jazz in Turkey), which gathers interviews with Turkish jazz musicians intimate with the country's jazz scene from the 1940s onward. The emergence of a jazz ecology of musician-composers, entrepreneurs, jazz promoters, and collectors runs in tandem with the history of the Turkish Republic, beginning in the years leading up to and including World War I and gaining momentum in the 1930s and 1940s. The documentary does not present a hermetically sealed nationalist understanding of Turkish jazz, but rather affirms a vibrant celebration of the music. To date, Istanbul's arts organizations host international jazz summer festivals and yearlong jazz programs. There are jazz clubs, radio programs, and magazines that highlight international and local events. Turkish university music departments offer jazz studies and formal performance opportunities for musicians. But there are also informal venues, such as the streets, cafes, and bookstores. While out late in Istanbul when I lived there, I would frequently listen to a lone street musician stationed outside of Narmanlı Han playing “My Funny Valentine” on his trumpet. On more recent trips, I have come across a jazz band playing Dixieland tunes along İstiklal Avenue. This is all to say that Istanbul is a city where one can listen to jazz standards, Dixieland, bebop, cool, and fusion as well as take lindy hop dance lessons from a local group. Although Akyol's documentary uncovers a jazz soundtrack dating to the 1930s that is composed of personal stories of local musicians becoming jazzers, the post-Armistice period (1918–23) remains mute, mired in what I consider to be a standard version of the city's origin story of jazz. I want to consider the case of jazz in post-Armistice Istanbul to think about how master narratives erase some sounds and privilege others.

Historians of the Middle East have used gender to explore a range of topics, from how crises around gendered practices have contributed to the construction of national identities to women's roles in nationalist movements. Whereas early gender histories focused on single nation-states, recent scholarship has turned to regional and transnational connections. Yet the international sphere, the domain of nation-states and nongovernmental organizations in relation to each other, has yet to be examined through the lens of gender. In this essay, I argue that doing so yields new insights into the relationship between the national and the international in the Middle East, and into the process of rights claiming in postcolonial nation-states. I make this argument through a discussion of the third session of the United Nations Commission on the Status of Women (UNCSW).

Over the last few years there has been much scholarly interest in sectarianism and minorities in the Middle East. New scholarship has appeared against the backdrop of communal violence in Iraq triggered by the US-led invasion, the intensifying Saudi–Iranian rivalry, the rise of extremist groups such as ISIS that have made sectarian violence a centerpiece of their ideology, and the ongoing Syrian Civil War.

Incorporating descriptions and analyses of sound into Middle Eastern history offers a wealth of opportunity for enriching our understanding of the historical record. But sometimes we need to get back to the basics: the “five w's and one h” of sound studies, so to speak. In what follows I would like to run this simple exercise with radio in the Mandate-era Levant, in order to lay out the basic data and begin to reflect on how it might aid scholars in better understanding other aspects of life in this period. I will do this by first addressing some of these basic what, who, when, where, why, how questions, and then by examining one day's programming of the Palestine Broadcasting Service in 1937: the day immediately following the release of the Peel Commission Report. What can we learn from examining this day's programming?

The term humanitarianism finds its roots in 19th-century Europe and is generally defined as the “impartial, neutral, and independent provision of relief to victims of conflict and natural disasters.” Behind this definition lies a dynamic history. According to political scientists Michael Barnett and Thomas G. Weiss, this history can be divided into three phases. From the 19th century to World War II, humanitarianism was a reaction to the perceived breakdown of society and the emergence of moral ills caused by rapid industrialization within Europe. The era between World War II and the 1990s saw the emergence of many of today's nongovernmental and intergovernmental organizations. These organizations sought to address the suffering caused by World War I and World War II, but also turned their gaze toward the non-Western world, which was in the process of decolonization. The third phase began in the 1990s, after the end of the Cold War, and witnessed an expansion of humanitarianism. One characteristic of this expansion is the increasing prominence of states, regional organizations, and the United Nations in the field of humanitarian action. Their increased prominence has been paralleled by a growing linkage between humanitarian concerns and the issue of state, regional, and global security. Is it possible that, in the 21st century, humanitarianism is entering a new (fourth) phase? And, if so, what role have events in the Middle East played in ushering it in? I seek to answer these questions by focusing on regional consultations that took place between June 2014 and July 2015 in preparation for the first ever World Humanitarian Summit (WHS), scheduled to take place in Istanbul in May 2016.

Gender history has a history proper to itself. This is not only to say that the study of gender as a scholarly and institutional practice is bounded by space and time, and that it has an archive of its own, but also that “gender history” as a relatively recent disciplinary innovation is properly gender history to the extent that it exists in relation to and distinct from other histories of becoming man, woman, trans, and so forth. In other words, gender history, regarded as a discursive formation in its own right, constitutes its object in ways that overlap but remain distinct from other conceptions of being and becoming gendered that are spatially and temporally diverse. Seen in this light, it can be said to map onto a history of sovereignty that has privileged particular forms of life and that acts as a limit on gender's analytical and critical value.

We have no shortage of texts to recover representations of sound. There is also an underutilized, renewable—yet, if not recorded, ephemeral—source that can help us recover the sounds of the vanishing past: oral history. The discovery of soundways and historically contextualized soundscapes is a compelling project on its own. By “soundways,” I mean the “paths, trajectories, transformations, mediations, practices, and techniques—in short, the way—that people employ to interpret and express their attitudes or beliefs about sound.” Global culture can be thought of as flowing through technoscapes, ethnoscapes, mediascapes, financescapes, and ideascapes, Arjun Appadurai has argued. The flow of global culture through these “scapes” would be represented in local soundscapes. Oral history interviews are one way to follow the flow to the level of the individual. And while sensory memories—especially echoic, haptic, and iconic—are being investigated in the context of medical and psychological research, they are not often considered in connection with social history.

The scene opens with the camera zooming in on a small raised stage where a group of muṭribs (minstrel performers) are enacting a rūḥawzī piece. At stage left, a young man is singing a love song that describes the physical features of his beloved, Chihilgis. He is accompanied by an ensemble that plays rhythmic music (in 6/8 meter) on traditional Iranian instruments—the tunbak, the tār, and the kamānchih. Standing next to the singer is Chihilgis, performed by a crossed-dressed performer (zanpūsh) who sports a long wig and moves flirtatiously to the song, making coquettish gestures with the eyes, lips, and shoulders. Chihilgis then joins the dance center stage with the two other main characters: the protagonist, enacted by the black-faced performer Mubarak, who has a tambourine (dāyirih) in hand; and Haji, Chihilgis’ old father, who sports a white cotton beard. With variations based on the characters, the dance consists of typical muṭribī moves, including exaggerated wrist and hip rotations, facial gestures such as blinking, and sliding head movements. This musical segment is followed by a witty, humorous dialogue between Mubarak and Haji with sexual undertones.