A never-before-told story of Arab migration to North America, one that begins in a mountain village in Lebanon's Qadisha Valley and travels to the tomato fields of rural Ontario, will take shape in the archives of the Arab American National Museum. AANM has named Dr. Michael Ferguson, assistant professor of history at Concordia University in Montreal, the recipient of the 2026 Dr. Tareq A. Ramadan Research Grant. The grant will bring Ferguson to Dearborn for a weeklong research residency, where he will draw on AANM's community cookbooks and archival collections to complete "Valley of Saints, Fields of Tomatoes: The Lebanese Community of Leamington, Ontario," a book project tracing how an entire Lebanese village rebuilt itself in one of Canada's most intensive agricultural regions. His selection reflects the grant's purpose: putting the nation's largest Arab American archival collections to work in scholarship that expands what we know about Arab life across the diaspora. The $1,000 travel grant supports researchers who visit AANM to conduct research using the Museum Collection and the Russell J. Ebeid Library & Resource Center. It is made possible through the generosity of Dr. Tareq A. Ramadan, an anthropologist, historic preservationist, and interdisciplinary adjunct professor of anthropology and Near Eastern studies at Wayne State University and Henry Ford College. A committee of AANM staff and Dr. Ramadan selects recipients. The Winning Project Ferguson's project, "Valley of Saints, Fields of Tomatoes: The Lebanese Community of Leamington, Ontario," traces the story of a farming community with roots in a single Lebanese village. Beginning in the 1950s, laborers from Tourza, a village in Lebanon's Qadisha valley, arrived in Leamington, Ontario, to pick and process crops in one of rural Canada's most intensive agricultural regions. As Lebanon fractured during its civil war two decades later, these now established migrants came together to build the Lebanese Club of Leamington, followed by a shrine and a church. Ferguson argues that by 1990, Tourza had effectively moved to Leamington, which became the center of a diasporic web reaching Detroit, Venezuela, Miami, and Australia. Because food sits at the heart of Lebanese life and agricultural labor defines Leamington, Ferguson approaches this history through foodways, using interviews and archival records to tell the story as both microhistory and global history. Research at AANM During a weeklong residency at the museum, Ferguson will draw on two of AANM's research holdings. In the Community Cookbook Collection, he will study mid-20th-century Lebanese recipes to better understand two Easter dishes that community members in Leamington describe as unique to their town: makhlouto and kibbet al-raheb. In the Michael W. Suleiman Collection, he will examine documents on Lebanese and Arab community organizations, churches, and fundraising activities across North America. These materials will help place the Leamington community in a broader diasporic context. Ferguson's research will result in an academic monograph, along with academic presentations and public lectures in the Detroit-Windsor area. About the Grant and AANM's Research Collections The Dr. Tareq A. Ramadan Research Grant is awarded annually to a graduate student, junior faculty member, or independent researcher with a clearly defined project that will prominently feature AANM materials. AANM, the only […] The post AANM Announces 2026 Dr. Tareq A. Ramadan Research Grant Recipient appeared first on Arab American National Museum.

On March 26, 2026, the Arab American National Museum debuted Palestine: Grief & Connection Through Clay, an emotionally captivating exhibition featuring art from eight Palestinian ceramic artists including Leena Ismail, Car Nazzal, Eman Srouji, Leila Srouji, Amal Tamari, Pam Totah, Marina Wahbeh, and Karina Yanes. The artists found community though their shared experiences of living in diaspora. They connected through social media for over two years before forming the collective, Pali Potters. Though the Pali Potters live in different locations across the US, their desire to preserve their rich heritage through ceramics unites them. “Palestinians have been divided and conquered. We’ve been sprinkled throughout the world. This group is a big deal. It shows that the divide and conquer tactic didn’t work. We’ve been able to come together through our art,” said Car Nazzal, a California-based ceramic sculptor and NCECA’s 2026 Multicultural Fellow. At least 150 people attended the opening night for the exhibition, which included snacks, refreshments, and a meet and greet with the Pali Potters. The event was held in conjunction with National Council on Education for the Ceramic Arts’ (NCECA) 60th conference, Volumes, which took place in Detroit, Michigan, March 25-28. Members of the Pali Potters collective gathered at the opening of “Palestine: Grief & Connection Through Clay” at the Arab American National Museum. The Pali Potters coordinated plans to meet each other for the first time in person and attend NCECA together. During planning, they also reached out to the museum looking for a place to show their work, which for Mark Mulder, NAAM exhibits curator, found to be a match made in heaven. “I’ve heard repeatedly from Arab American artists that it’s really hard to get shows,” Mulder said. “They’ll go to shows and see their culture represented by non-Arab American artists. So, when the Pali Potters came to us with a proposal, it was a no brainer.” An inspiring dining experience One of the most memorable installations was Meet at the Table, which features a tablecloth that streams from the gallery’s ceiling and drapes down onto the floor. A piece of sheer fabric zigzags across the cloth, giving the display a watery effect that’s reminiscent of the well-known Palestinian liberation phrase, “from the river to the sea.” The intimate table setting includes ceramic dishware, red poppies, vases, and other functional yet intricately designed décor. A half-closed, purple eye sits at the head of the table, guarding the spread. The Pali Potters specifically envisioned the table setting to be on the floor of the gallery. “We wanted to honor the traditional way of dining since sitting at the table is a very colonial invention,” said Leila Srouji, artist and owner of Tierra Madera Ceramics. The table setting was inspired by a photograph of a table stretching over 100 feet and seating Gazan families during Ramadan. In the photograph, the table is surrounded by the rubble of destroyed homes and buildings. “They all gathered and had a meal, even in the war,” Srouji explained. The group arranged the table setting in an organic way, going with how they felt. Building this piece together symbolized the same […]

Celebrate Eid with the community at the AANM Hafla Fil Hadiqa: Eid Family Party & Artisan Market, part of an all-day Eid Al-Adha celebration at the Arab American National Museum in Dearborn, Michigan. The event will bring together families, artists, and local businesses for a festive day featuring handcrafted goods, cultural experiences, and community connection. The Museum welcomes applications from artists, makers, and small businesses offering unique, handmade, or culturally inspired goods. Apply to Be a Vendor at the Eid Market Application Timeline Application deadline: Monday, April 27 at 11:59 PM ET Vendor notification: Monday, May 4 Table fee payment deadline: Accepted vendors must submit their table fee by Monday, May 18, 2026 Vendor Fees & Table Information $50 per table Vendors may request either a ½ table or a full table Tables are 8 ft long Vendors requesting a ½ table will share with another vendor Only one table per vendor Event Details Market hours: 12–5 PM Vendor arrival/setup: 10:30 AM Vendors are expected to participate for the full duration of the market. Apply to Be a Vendor at the Eid Market

Sinan Antoon at the 2025 Arab American Book Awards. Recently, AANM sat down with Sinan Antoon — Iraqi poet, novelist, translator, scholar, and the 2025 AANM Lifetime Achievement Award honoree. Antoon’s work has long explored the complexities of exile, language, and belonging, giving voice to stories shaped by war, displacement, and diaspora. In this conversation, he reflects on the craft of writing, the experience of living between languages and cultures, and the enduring question of what it means to call a place home. Below are several key moments from the discussion. 1. You’ve been described as a poet, novelist, translator, and scholar. How do you define what you do? Sinan Antoon: I usually say that I’m a wordsmith. Sometimes I’m introduced as a scholar, and I say yes — but I’m also a writer. Other times I’m introduced as a writer, and I say yes — but I’m also a scholar. Wordsmith captures all of that. At the end of the day, it’s about working with language. Writing, translating, researching — they’re all connected. And writing itself is labor. I like the idea of a writer as a craftsperson. You open your shop, sit down, and do the work. 2. Your life has moved between Iraq and the United States. How has that experience shaped your writing? Sinan Antoon: For those of us who live in the diaspora, the question of home never really disappears. I left Iraq in the early 1990s, and like many immigrants, I gained a lot by leaving. But I also lost something that cannot be retrieved. That tension never goes away. Distance also changes how we remember places. Nostalgia can create an image of home that feels permanent and unchanging, but time transforms everything — especially a country that has experienced war and upheaval. For me, writing becomes a way to grapple with that change. Literature allows us to recreate places, memories, and lives that may no longer exist the way they once did. AANM Presents: Sinan Antoon 3. In the interview, you described home in a very poetic way. What does home mean to you today? Sinan Antoon: Home is complicated. There is the physical place — the city, the streets, the buildings. But there is also something else. There is this constellation of songs, words, smells, scents, poems, and people that can suddenly be recreated even in the farthest place on earth. You might hear a song, speak your language with someone, or share a meal — and in that moment, you feel at home again. For many of us in diaspora, home exists in fragments like that. It’s not always a permanent state. It’s something that appears in moments. 4. You write across languages and genres. How do you decide whether something belongs in Arabic or English? Sinan Antoon: Most of my poetry begins in Arabic. That language connects me to a long tradition of poets and to the literary world I grew up in. My essays and scholarship, on the other hand, are often written in English because that’s the language of the academic world I work […]

Photo by Naomi Sharp On Saturday, January 24, the Arab American National Museum (AANM) hosted Night at the Museum, a community fundraiser and art auction that brought together diverse communities from across metro Detroit. The evening highlighted creativity while supporting AANM, the Dearborn Fine Arts Club, and local artists. Guests enjoyed an immersive night celebrating the arts, featuring live Arabic beats by Detroit-based DJ Aboudi Issa, live-drawn caricature portraits by Dearborn artist Lujane Al-Awash, a handmade photo booth, and a lively auction featuring 23 artworks. Attendees also enjoyed food generously donated by Alanos Eatery, Big Moe’s Kitchen, La Pita Restaurant, Masri Sweets, and Wing Fellas. Thank you to everyone who attended, as well as our partners and sponsors who helped make this meaningful and memorable evening possible. Scroll below to see highlights from the event. View photos from Night at the Museum.

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This season, the Arab American National Museum Store is your destination for artisanal holiday gifts that blend craft, heritage, and heart. Each piece — from Palestinian Christmas ornaments to Arabic calligraphy bookmarks — is handmade by artisans who carry generations of traditions forward. Every purchase supports Arab and Arab American artists while helping preserve the stories that make our communities shine.

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There is no excerpt because this is a protected post.

Publicity photo taken by the American Consul in Beirut in August 1955. In 1954, Rosemary Hakim made history as the first-ever Miss Lebanon-America—but what began as a pageant win quickly became something far more powerful. The daughter of Lebanese immigrants, Rosemary’s title earned her a months-long, state-sponsored tour of Lebanon as an official guest of the government during the country’s “Homecoming Year.” She was welcomed like royalty, celebrated in the press, and held up as a cultural bridge between Lebanon and its diaspora. But Rosemary didn’t just enjoy the spotlight—she used it. Her visibility and contributions opened doors that few Arab American women had access to at the time. Shortly after her tour, Rosemary joined the Arab States Delegation Office at the United Nations in New York City. There, she worked as a clerk—at the heart of pivotal moments in 20th-century Arab history. She was in the room for the Suez Crisis, the Algerian Revolution, and the Yemeni struggle against British colonialism. Her work supported the wave of decolonization reshaping the region, and she bore witness to history—not as a bystander, but as a contributor. Her personal story was just as remarkable. During her time at the UN, she was briefly involved in a romance with Prince Fahad al-Sudairi of the Saudi royal family. Their relationship, captured in photographs and letters, is part of the archival trail she left behind. View this post on Instagram A post shared by AANM (@arabamericanmuseum) Later in life, Rosemary began writing a memoir titled Arabian Antipodes, which she never finished or published. But her story didn’t disappear. She chronicled her life through journals, photo albums, and handwritten notes—fragments that together tell a life lived across borders, beauty contests, and rooms of power. After her tenure at the UN, Rosemary returned to Michigan, where she lived the rest of her life in quiet dignity. But her legacy remains loud as ever and continues to be preserved within the Arab American National Museum’s archives. She was more than a titleholder. More than a clerk. Rosemary Hakim was a symbol of ambition, diplomacy, and diaspora. And now, her story is upheld for generations to come. Explore the Rosemary Hakim Archive—and discover how one woman carried a community with her wherever she went. Explore the Archive

A photo still of a scene from DRONE, a play written by Andrea Assaf, during a performance at Detroit Public Theater. DRONE: A New Play by Andrea Assaf performed at the Detroit Public Theater from July 31 - August 3. Find upcoming AANM events on our calendar. DRONE, written by Joyce Award-winning playwright Andrea Assaf, is a heart-gripping play about a pilot who lands a well-paying job as a military contractor flying drones, and the mental health struggles that follow after a drone attack with civilian casualties. The play begins on a hopeful note: commercial pilot Ryan Byrne is happy to start a new, financially stable life with his wife, Maggie, and son, Buddy. He sets off to work at Creech Air Force Base. We learn that he doesn't fully understand what he's getting into until it's too late. During a drone operation, the squad at Creech realizes they’ve accidentally targeted and killed civilians in a small, Middle Eastern village. Ryan is immediately distraught. While he didn’t physically fly the plane and drop the bombs, he still feels responsible for the remote decision. He confides in The General, a Vietnam-era Air Force veteran who believes drones are an incredible military advancement, as American troops can now carry out orders without having to risk their lives in the field like he did. We learn some horrific details about his experiences in battle and empathize with his perspective. And yet, his perspective doesn’t account for the loss of innocent lives in faraway countries, and the ease with which they can be taken. Three Survivors visit Ryan and haunt him with their testimonies of loss and pain. He becomes distant and unpredictable with his family, and his mental health worsens. Maggie reaches out to a local church for help, which only makes her feel more trapped in her marriage to a man who is quickly losing his grasp on reality. The play is set in Las Vegas. Yes, there is a casino scene, and not just one but several Elvis impersonators, much needed comic relief. One of the most enjoyable scenes is when one of the Elvis Impersonators turns out to be the Preacher at Maggie’s new church and breaks out into song. Speaking of priests, religion serves as a strong subplot. The play touches on a far-right Christianity that connects the wars in the Middle East to the Second Coming of Christ. It also features the ancient Egyptian goddess Sekhmet, and the Muslim women Survivors, a nod to Muslim majority countries that are currently targeted by the U.S. Finally, the music, an experimental mix of Christian hymns with Middle Eastern music, is nothing short of incredible. The ensemble features internationally acclaimed, Dearborn-based artist, Lubana al-Quntar, an opera singer from Syria. And Kathy Randels, a theater director, vocalist, and performance artist, who showcased her extensive knowledge of U.S. Southern and Appalachian Christian music. They play in front of a projector, which makes for an immersive, interactive experience that pulls you in. Survivor testimonies and a veteran’s moral injury highlight character complexity. There are two narratives at work in DRONE, and they interject a […]

What does it mean to belong? For more than a century, Syrian and Lebanese families have made homes across the American South. These communities — often overlooked in broader national narratives — built lives, opened businesses and raised generations in cities and towns from Mississippi to Michigan. Their stories are rooted in migration, resilience, adaptation and the quiet power of everyday life. While many may associate Syrian and Lebanese history with coastal enclaves or urban immigrant hubs, the truth is more expansive. In regions like Dearborn’s Southend or the working neighborhoods of Birmingham, Alabama, Syrian and Lebanese families carved out their own space — building churches and mosques, opening shops, learning new languages and passing down culture in kitchens, classrooms and places of worship. And yet, much of this history had gone unrecorded. In 2014, the Arab American National Museum launched the Family History Archive, our digital collection that shines a light on the lived experiences of Syrian and Lebanese families in the American South and Midwest. This archive isn’t just a database — it’s a living document of stories passed down, photographs preserved and voices that haven’t always been heard. With more than seventy oral histories, collected at community conventions across the region from 2014-2022, the Family History Archive offers an intimate portrait of Syrian and Lebanese American life. These are stories told in first person — rich with detail, emotion and a sense of place. Stories about the smell of food in grandmother’s kitchen. About learning English in classrooms full of hope. About labor on factory floors, childhood games in neighborhood alleys, and the small triumphs and challenges of building a life between two cultures. Through a curated collection of photographs, documents and recorded interviews, the archive makes history feel personal. Black-and-white snapshots of weddings, storefronts and community centers offer windows into the past — moments that feel at once distant and deeply familiar. You’ll find images of union workers in Detroit, families celebrating Eid in Alabama, children posing proudly for school portraits and handwritten letters from parents to children across the ocean. These everyday artifacts tell extraordinary stories. They tell of perseverance during periods of political tension, of holding on to cultural identity while navigating assimilation and of preserving heritage in places where community sometimes had to be built from scratch. They also tell of joy, solidarity and celebration — evidence of a community that has not only endured but flourished. The Family History Archive isn’t about famous names or singular events. It’s about honoring the legacy of people whose stories might otherwise go untold — people who made dinner, marched in protests, ran small businesses or simply showed up for their neighbors. These are the stories that shape our collective memory. Preserving History The launch of the archive in 2014 and its maintenance arrived at a moment when the preservation of community memory was more important than ever. As generational knowledge risks being lost, and as dominant narratives often erase or flatten our identities, it’s critical that institutions like AANM create space for reflection, education and representation. The Family History Archive allows us to learn not […]

The Arab American National Museum, celebrating its  20th anniversary this year, made waves with its recent Arab Film Festival (AFF). The film festival is meant to inspire, educate, and gather community around art, culture, and important issues affecting Arab Americans and communities who support them.  “Films in our program and films about our Arab communities across the world are essential and necessary to share stories, dispel stereotypes, educate the public, and highlight realities,” said Dave Serio, Curator of Education and the Arab Film Festival. “Solidarity between communities is important to stopping violence, achieving liberation, and working together to uplift each other.” The festival ran from Wednesday, May 7 through Sunday, May 11, featuring full-length films and shorts, covering topics like young romance, aging, war, occupation, expat life, and family dysfunction. It touched on multiple issues at home in the US as well across the world, including the genocide in Palestine, the humanitarian disaster in Sudan, and imperialism affecting Yemeni, Lebanese, and Syrian communities. “While we often feel powerless, coming to programs like the Arab Film Festival, choosing to watch films and listen to Arab narratives is a small but excellent way to show support and ensure these narratives are heard,” Serio said. While it was important for curators to capture the heavier realities of the Arab world, they also wanted to select films that depicted celebration and joy as well as the day-to-day mundanity of life.  “We don’t want this festival to be just war documentaries because there’s so much more to our communities. There’s so much more to us as people than being victims of conflict,” said Hannah Fahoome, filmmaker and co-committee chair of the festival. Most of the films were screened in the auditorium at the Arab American National Museum. However, a few films were screened offsite at locations in Detroit, Hamtramck, and Flint, giving the festival a more expansive reach. Events featured food, late-night social hours, a poetry workshop, and interactive discussions to make members and guests feel at home. “This place is your home, and we want you to feel that way. And the more you come and support us, the more energy and resources we have to share,” Fahoome said.

In celebration of the Arab American National Museum’s 20th anniversary, we’ve partnered with acclaimed artist Dahlia Elsayed to launch a limited-edition collection that merges visual storytelling with everyday utility. This commemorative series features five exclusive items—designed to honor the legacy of the museum, elevate Arab American creativity, and spark joy in your daily rituals. Each piece in this collection carries Dahlia’s signature style—bold, reflective, and rooted in place. Whether you’re gifting a loved one or treating yourself, these are keepsakes worth collecting. AANM Members enjoy 20% off store purchases, some exclusions apply. Join today⧉

In celebration of the Arab American National Museum’s 20th anniversary, we’ve partnered with acclaimed artist Dahlia Elsayed to launch a limited-edition collection that merges visual storytelling with everyday utility. This commemorative series features five exclusive items—designed to honor the legacy of the museum, elevate Arab American creativity, and spark joy in your daily rituals. Each piece in this collection carries Dahlia’s signature style—bold, reflective, and rooted in place. Whether you’re gifting a loved one or treating yourself, these are keepsakes worth collecting. AANM Members enjoy 20% off store purchases, some exclusions apply. Join today⧉

Looking for a unique, meaningful gift to honor the father figures in your life? Whether you’re celebrating a dad, mentor, uncle, or friend, the Arab American National Museum Store has curated a stunning collection that reflects heritage, humor, and heart. Each item is a celebration of Arab American culture—designed by artists whose stories and aesthetics push against the ordinary. AANM members receive 20% off store purchases, some exclusions apply. Become a member today.

Give $100 for a chance to be gifted a $2,800 timepiece In celebration of the Arab American National Museum’s 20th anniversary, we’re partnering with Habibi Edition to offer a one-of-a-kind thank you to our supporters. The first 100 donors who contribute $100 or more will be eligible to be gifted a limited-edition Habibi Edition | Shinola watch — a $2,800, unisex, Detroit-made timepiece that aligns with AANM’s history and impact. One generous donor will be selected to receive this exclusive piece. The watch, #55 in the series of only 500 made, pays tribute to AANM’s official founding on May 5, twenty years ago. As a small token of gratitude, all qualifying donors will also receive a complimentary one-year Museum Membership. Donate today and help sustain AANM as the national home for Arab American history, stories and culture – for the next 20 years and beyond.

DEARBORN, MI — On May 5, 2025, the Arab American National Museum (AANM) marks 20 years as the only museum of its kind in the United States—a place that has preserved, presented and elevated Arab American history, culture and contributions since its founding in 2005. To commemorate this historic milestone, AANM is launching a year of celebration titled “AlBayt Baytak”—Arabic for “this home is your home.” It’s a fitting tribute to a museum that has long offered Arab Americans and allies a sense of belonging, pride and connection. This anniversary is more than a milestone—it’s a celebration of the people, stories and cultural legacies that have shaped Arab American life for generations. As a national home for Arab American history and culture, AANM has grown into a space where visitors, artists, students and researchers from across the country come to feel seen, connected and inspired. “Over the last 20 years, AANM has become more than a museum—it’s a living home for Arab American culture. Whether it’s a family tracing their heritage or a national celebrity like Mo Amer dropping by on tour, we hear the same thing: ‘This place feels like home.’ There’s a sense of familiarity akin to your grandma’s stories. That’s the magic of AANM—it welcomes everyone in, and tells our stories with heart, rigor and pride.” - Diana Abouali, AANM Director. A National Home, Rooted in Dearborn, Connected to the Country Located in Dearborn, Michigan, amid one of the largest concentrations of Arab Americans in the United States, AANM presents original exhibitions, cutting-edge art, film screenings, and performances in Michigan and in major cities across the U.S. It continually documents the history and experiences of Arab Americans through programming, research, and community engagement. Each year, the Museum welcomes tens of thousands of visitors from all fifty states and countries around the world. AANM is also home to the most comprehensive collection of Arab American research and history, including a public library, digital archive, oral histories and rare archival materials that tell the evolving story of the Arab American experience. Celebrating 20 Years of Culture, Creativity and Community Throughout 2025, AANM is rolling out a series of special events, exhibitions and initiatives that invite the public to celebrate, connect and imagine the future together: National Membership Drive to bring together Arab Americans and allies from coast to coast. Membership is a declaration of pride, a commitment to cultural preservation, and an investment in self-sufficiency. Member support sustains AANM’s mission and helps ensure that Arab American stories remain accessible for generations to come. Members enjoy: 20% off at the AANM Store throughout the anniversary celebration Access to over 1,000 cultural institutions nationwide through the North American Reciprocal Museum (NARM) program Exclusive invitations to events, previews and programs Learn more and join at arabamericanmuseum.org/membership AANM’s annual Arab Film Festival (AFF) is coming soon, May 7-11—featuring the best of critically acclaimed and award-winning Arab American and Arab world films, AFF showcases Arab and Arab American films for fans of Arabic-language movies and adventurous art-film lovers seeking new perspectives and outside-the-box thinking. DIWAN: A Forum for the Arts Returns (September 19–20, 2025)—AANM’s […]

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My first month or so at the Museum has been spent cataloging donations of player piano rolls, sheet music and records. Almost all the recorded materials we took on were made by and for Arabs in the U.S. and overseas. The sheet music collection, however, hails primarily from America’s Tin Pan Alley, a handful of music publishing houses in the early 1900s that grew in popularity during the height of vaudeville. While these objects represent the evolution of recorded music, they also reveal a story of how diasporic communities used music to create space for themselves in the U.S. and contrasts that narrative with American perceptions of Arabs that were being formed in the early twentieth century. From the late 1800s into the 1920s, migrants from the Arab world began carving out enclaves in cities across the country. This timeline coincides with what some consider to be America’s golden age of songwriting. In an era before recorded sound, vaudeville style variety shows were the engine of American pop music. The sketch-style nature of these shows only gave performers a handful of minutes on stage, and so racial or cultural stereotypes were often used to convey a message to the audience in the shortest amount of time possible. While there were some acts involving stereotypical Irish or German characters, a vast majority of the harm fell onto communities of color. As news of World War I entered the U.S., so did Orientalist ideas about the people and cultures being encountered by Westerners. Many song titles and lyrics found in the collection we received feature stereotypical images of camels, sheikhs and harem-bound women—what else can one expect from the same genre that produced the blackface character Jim Crow? Despite its racist tropes, the music of the era has unbelievable staying power, as do the caricatures and stereotypes that have become synonymous with the vaudeville genre. Moving to a new place where no one knows your name—let alone the culture or country you come from—can be, to put it lightly, daunting. Nevertheless, across different cultures, immigrants found ways back to each other as they built new lives in the United States, much like we see in Manhattan’s Little Syria. Music was just one avenue of connection, but it is arguably one of the most powerful. It gave people a reason to gather and provided means for community building in a new country. With the invention of the phonograph and subsequent audio recording technology, swelling strings, lilting ney and pensive oud could now be scored onto ceramic discs and packed away in steamer trunks only to be played again in moments of homesickness. Once the needle dropped, the village became tangible, and suddenly a city that felt foreign was flooded with something more familiar. As the Arab community continued to grow in the U.S., so too did the market for Arabic language music. Abraham Joseph (A.J.) Macksoud was just one of the many people who rose to meet this need with a phonograph store in Little Syria. Many of the records AANM acquired this year feature a small, circular sticker with Macksoud’s name and store […]