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In Oman, the Gulf Cooperation Council country with the greatest linguistic diversity, eight of the country’s 10 languages are threatened or dying

the minority languages in Oman belong to three families: the Indo-Iranian Kumzari, Lawati (also known as Khojki), Zadjali and Balochi; the Modern South Arabian Harsusi, Bathari, Hobyot, Mehri and Jabbali; and the Bantu language Swahili. Only Balochi and Swahili have enough world speakers to be considered safe from extinction.

Some of the risks these languages face are due to the structural reforms — mainly in the field of education — instigated by Sultan Qaboos bin Said for the last five decades to promote national unity over a constellation of identities scattered across the state, with an emphasis on language. Ever since a coup orchestrated by British intelligence in July 1970 overthrew Sultan Qaboos’s father, Sultan Said bin Taimur, the state's official language, Arabic, has been a key element of this newly crafted Omani identity. 

The law voted on by parliament a few weeks ago — eight years after the constitution entered into force — serves as a means to implement what is specified in the Constitution, without adding anything other than clarifications. For example, it notes that Turkmen, Assyrian or Armenian citizens have the right to ask the administration of the government school where their children study to provide the latter with lessons in their mother tongue.  In this respect, Iraq is following in the footsteps of developed countries that have realized the importance of teaching a person his or her mother tongue if they so desire. Lawmakers have confirmed the importance of spreading "linguistic awareness" and bringing the various components of the country closer together. Today, this is now an issue of law, budget and implementation, especially when it comes to the employees who should be appointed in official circles and schools so that this law can come into effect. [To truly implement the law], thousands of employees are needed. 

the law confirms — without directly mentioning it — the idea that was expressed in Article 3 of the Constitution: that Iraq is a country of many nationalities, religions and sects. This is one of the most important issues that the Iraq state has refused to recognize since its inception. In Iraq, there are languages that can be traced back to completely different linguistic families. These include Semitic languages, Indo-Iranian languages (from which Farsi and Kurdish originated), Altaic languages (from which Turkish languages originated), Indo-European languages (from which Armenian originated) and Caucasian languages (from which Circassian originated). There are also some Iraqis who speak languages that are Slavic in origin

in spite of the sacrifices made by Kurds in Iran, Turkey and Syria, the type of recognition achieved by Iraq's Kurds in January of 2013 still remains a dream

Nubian is the language of choice for Ibrahim, her children and her grandchildren. “Language is our life and the only legacy that remains of our ancestors. Preserving our language and teaching it to my children and grandchildren who never lived on their forbearers’ land became my main mission in life after our deportation, on my quest to safeguard and maintain our generational legacy. I always tell my grandchildren that losing our Nubian language would mean losing our identity and roots.”

What distinguishes Nubians is their organizational ability and keenness to coalesce into Nubian communities in the provinces and countries of their diaspora

Nubian songs continue to be the customary and most effective method by which Nubians preserve their language and music, traditionally sung to the beat of drums resembling, to a great extent, African music. Kabara said, “We use songs to preserve our linguistic legacy, particularly in light of the fact that Nubians retain their love for ancestral tunes, which they prefer over Arabic and Egyptian melodies, whereby Nubian songs are the most commonly heard during Nubian festivities and social events.”

Only 0.4% of Israeli Jews under the age of 70 can read the stories in the original Arabic language, he says. He also points to the fact that according to Israel’s National Library, less than 1% of all literature translated into Hebrew was written in Arabic, and 90% of the translators were Jews

The stories of “Amputated Tongue," which all deal in various ways with language deprivation, is written by 57 Palestinian writers from Israel, the West Bank, the Gaza Strip and abroad. The impressive compilation of contemporary Palestinian prose was translated into Hebrew according to a unique model by 36 translators, where one Arab and one Jewish translator collaborated. One-third of them were Palestinians. The short stories by some of the best Palestinian writers provide Israeli readers with more than a glimpse of entire lives lived in this land, and of this land.

The project lasted three years. Its goal was to give a voice to Palestinian Arabic society in the hostile climate created by Israel’s right-wing regime that views Arabic as an enemy language — as made abundantly clear in the 2018 Nationality Law, which downgraded the status of Arabic as an official language. The anthology targeted those few Israelis who want to know more about Palestinians but have had little exposure to them until now.

Journalists have rarely done justice to indigenous communities because the language of journalism has rarely done justice to indigenous peoples.

Indigenous people know that their representation has failed before they've even begun speaking, because the medium through which they are represented - a hard, sharp language rooted in ideas rather than feeling - has rarely granted them territory.

The language that media uses today does not heed silence and self-interpretation. It does not respect the power of conjured stories. It does not favour the collective over the individual. And this does not fit with indigenous perspectives.

Pop music in the region today truly represents the Westernization of classical Arabic music defined by traditional elements of improvisation (where songs often last as long as an hour), instruments native to the region like the oud, and maqam, which is a system of melodies and pitches native to Arabic music. Classical Arabic artists like Oum Kulthum and Asmahan thrived on this style and are considered icons of Arabic music because of their ability to evoke emotion through their artistry.But in conjunction with colonization, Arabic music began to shift from its classical roots with the Cairo Congress of Arab Music in 1932, organized by King Fuad of Egypt. This symposium brought together renowned composers and ethnomusicologists from the Middle East, North Africa, and Europe who created a set of proposals for the modernization and standardization of Arabic music, one of which was the incorporation of European instruments into Arabic ensembles because “such instruments possessed tremendously varied, expressive means and depictive powers.”The other notable event that pushed this modernization further was the introduction of the phonograph to the region. Phonographs could only play songs for a limited duration, making the traditional improvisation and hour-long running times of classical Arabic music nearly impossible.The final nail in the coffin was the burgeoning film industry in the 1950s and 1960s, particularly in Egypt, the cultural epicenter for creative output in the Middle East and North Africa. Movies were heavily Westernized at the time, forcing directors and producers to modify accompanying music to incorporate Western-style elements in their instruments and duration.

a new movement is rising in North Africa.Rappers and emcees from the region are boldly approaching hip-hop and the larger Arab music landscape by exploring taboo themes and proactively deconstructing societal markers of North African identity. They are experimenting with beat production and dialect as they go about creating a space for their music and for these conversations to be held in a public domain. This is not a knock on the Levantine or Khaleeji rap scenes; there are many artists who are doing this currently. But North African emcees are using their lyrical flows and melodic rhythms to grapple with the essential question of identity. The music sounds fresh and breathes new life into the pop-dominant Arabic music scene.

A vast majority of North African rappers primarily use their regional Arabic dialects and French in their music. But many artists, specifically North African artists based in Europe, also use Spanish, Dutch, and English on their albums. A few artists will even use all four languages in one song.

Standard Arabic, or Modern Standard Arabic (MSA), is on the decline, and some are happy to see it go. However, it is important to note the factors driving this decline, and what this means for the region.

Though some rejoice in the strengthening of vernaculars, the so-called colloquials or dialects, as a sign of local identities gaining prominence, the withdrawal of MSA is in fact a warning about the weakening social infrastructure and declining education system.

When people speak of the decline of MSA, they generally refer to decline in literature, literacy, and increasing predilections to use dialects or foreign languages instead of MSA

A survey, publicised at a conference at Tel Aviv University in December, found that while 17 percent of Jewish citizens claimed to understand Arabic, that figure fell to just 1 percent when they were asked to read a book

those with a working knowledge of Arabic were mostly elderly Jewish immigrants born in Arab countries - a generation rapidly dying off

half of Israeli Jews with a western heritage wanted Arabic scrapped as an official language, while the figure rose even higher - to 60 percent - among Jews whose families originated from Arab countries

After reviewing more than 38 million Twitter posts about the Syrian conflict, a team of Middle East scholars from The George Washington University and American University concluded that rather than an objective account of what’s taken place, social media posts have been carefully curated to represent a specific view of the war. It said the skewing of the social media view of the conflict has been amplified by the way more traditional news outlets make use of the postings – for example, passing along social media posts written in English over those written in Arabic. The analysts studied tweets that mentioned Syria in English or Arabic from the start of 2011 through April 2013. They then analyzed how “traditional” forms of media, such as newspapers, used social media to supplement their coverage of the conflict.

Because journalists were largely unable to get direct access to the events in Syria at the start of the conflict, many relied on “citizen journalism,” or accounts from Syrians who said they’d witnessed events firsthand, often posted on social media, said Marc Lynch

as the uprising continued, tweets in Arabic began to dramatically outpace tweets in English. From January 2011 to June 2011, English-language tweets were most common, but Arabic tweets made up almost 75 percent of all tweets about Syria just a year later.

The BBC is proposing to close about 382 posts at the World Service as it tries to make £28.5m in annual savings for its international services.Radio broadcasts in 10 languages including Arabic, Persian, Chinese and Bengali will cease

Although no language services will close, many will move online, to "increase impact with audiences".

The other radio services that will end are Kyrgyz, Uzbek, Hindi, Indonesian, Tamil, and Urdu.The languages that will become online-only are Chinese, Gujarati, Igbo, Indonesian, Pidgin, Urdu, and Yoruba.

officers from a military intelligence unit called Telem design much of the Arabic language curriculum

“The military are part and parcel of the education system. The goal of Arabic teaching is to educate the children to be useful components in the military system, to train them to become intelligence officers.”

Mendel said Arabic was taught “without sentiment”, an aim established in the state’s earliest years.“The fear was that, if students had a good relationship with the language and saw Arabs as potential friends, they might cross over to the other side and they would be of no use to the Israeli security system. That was the reason the field of Arabic studies was made free of Arabs.”

Watching television for more than 3.5 hours per day is associated with a dose-response decline in verbal memory over the following six years, independent of confounding variables. These results are found in particular amongst those with better cognition at baseline and are robust to a range of sensitivity analyses exploring reverse causality, differential non-response and stability of television viewing. Watching television is not longitudinally associated with changes in semantic fluency. Overall our results provide preliminary data to suggest that television viewing for more than 3.5 hours per day is related to cognitive decline.

Despite some such studies showing positive associations with language acquisition and visual motor skills in very young children2, many more studies have shown concerning cognitive associations including with poorer reading recognition, reading comprehension and maths3, and cognitive, language and motor developmental delays4,5. However, much less attention has been paid to the effects of television viewing at the other end of the lifespan. Indeed, despite it having been hypothesised for over 25 years that watching excessive television can contribute to the development of dementia1, this theory still remains underexplored empirically.

Watching television for more than 3.5 hours per day was associated with poorer verbal memory six years later with evidence of a dose-response relationship: greater hours of television per day were associated with poorer verbal memory at follow up (Table 2)

the Arab Network for Knowledge about Human Rights (ANKH), which has conducted the first survey of LGBT+ Arab Facebook users. More than 90% of the 450 Arabic speakers who responded had been targeted by hate speech on the platform, it found. A quarter of online hate speech in the Middle East and North Africa urged violence against LGBT+ people and 15% made direct threats. More than half the respondents reported feeling hopeless or depressed as a result and almost one in four had thought of self-harming.

Activists say Facebook can be an essential tool for LGBT+ people in the Arab world, where many face an oppressive legal and social atmosphere, and vague laws against indecency are often used to criminalize sexual activity. Strong social stigma around homosexuality, amplified by conservative religious entities, has led to low acceptance of gay people across the region. LGBT+ activists in the area risk social exclusion, prison sentences, and violence by security forces, according to Human Rights Watch.

Jillian York, director of international freedom of expression at the Electronic Frontier Foundation, a digital rights group, said enforcing policies would require vast investment in language skills to navigate slang and dozens of dialects. "(Social media companies) are really bad at defining and dealing with incitement and dehumanizing language," she said, adding that Facebook "have a dearth of content moderators in a number of languages where they should have a lot more".

Although podcasting is growing in Africa, radio, a close cousin that has been around since the days of colonization, remains prevalent.

The largest podcasting markets in Africa include Nigeria, South Africa, and Kenya

the African podcasts that get exposure typically sound familiar with commercial appeal in terms of format, content, and tone

The commander of Iran’s Islamic Revolutionary Guard Corps (IRGC) has warned the Saudi royal family that it will “pay the price” unless it reins in the media outlets it allegedly funds. The warning comes as Tehran accuses foreign-based Persian-language networks—and especially the TV channel Iran International—of spreading fake news and inciting unrest.

the IRGC-linked Tasnim News Agency reported hours after his speech that the main target was Iran International. Tasnim maintained that there is "no doubt" that London-based Iran International "is linked to the crown prince," referring to Mohammed bin Salman Al Saud (MbS). Tasnim also named Dubai-based Al-Arabiya and Al-Hadath as other news networks funded by the Kingdom and targeted by Salami in his speech.

MP Mohammad Ali Naqdali—the secretary of the parliament’s legal and judicial commission—urged Iranian authorities on Oct. 8 to file a complaint against Iran International with the UK media regulator, Ofcom. The lawmaker called on the foreign ministry and judiciary to complain about Iran International over its alleged role in "encouraging further protests” in Iran. Naqdali also criticized other Persian-language outlets based in the UK, describing them as "lie-producing factories."

DohaNews, which was read widely by the English speaking migrant community in Qatar, said in statement on Thursday that it had been "deliberately targeted and blocked by Qatar authorities", and that it had not been told why.

The Doha News team said local authorities had not raised any concerns or issued any warnings against them.“Qatar has never been an easy place to report in, but authorities have never stopped us before,’’ Shabina Khatri, executive editor and co-founder of Doha News told Middle East Eye.She added it wasn’t clear whether one of their stories sparked the move, or a series of stories and reporting style.

both of Qatar’s internet service providers, Ooredoo and Vodafone, simultaneously blocked the URL.