Examining the Auditory Impact of Genocide in Gaza
Over the past two years, the people of Gaza have experienced the relentless sound of bombs, drones, and sirens. Such sounds of terror have dominated at least two campaigns by the United Nations Children’s Fund, filling social media with heart-wrenching testimonies from Palestinians. People from all parts of society—the men, women, children, and elders— have been seen crying and wailing amidst the rubble and ruined hospital corridors, lamenting the loss of their loved ones. Mohamed Abo Dakka was among those who pleaded for the world’s attention as he recounted the loss of eight family members in an Israeli airstrike in October 2023.
A video from November 2023 shows the desperate cries of a girl trapped under the rubble of her home in Gaza. Her words, “Get me out of here, please get me out of here … I can’t move … why is all this happening to us?” echo with the shocking reality that 2,700 families have been entirely wiped out since October 2023. These narratives highlight not only the physical but the emotional and psychological trauma inflicted by the sounds of war.
On September 26th, Israeli military vehicles equipped with large speaker systems approached the Gaza border, broadcasting Prime Minister Benjamin Netanyahu’s speech from the United Nations General Assembly. This action, part of what IDF soldiers termed the “Shout/Scream Operation,” added to the sounds of terror already inundating Gaza residents. It occurred ten days after a renewed ground offensive in Gaza, and by that morning alone, 20 Palestinians had been killed.
Israel’s use of sound as a weapon is not new. It has a history of deploying high-pitched sound waves, such as “The Scream,” to disorient and induce physical discomfort among Palestinians. Sonic booms have been used in Gaza to mimic the effects of explosions, causing broken windows, ear pain, and anxiety attacks. The strategic employment of sound to intimidate and control can be traced back to operations targeting Palestinian protests and has extended beyond Gaza into Lebanon.
Several artists and journalists have sought to capture and analyze the impact of these sonic experiences. British-Jordanian artist Lawrence Abu Hamdan has documented Israeli violations of Lebanese airspace, while Lebanese artists like Akram Zaatari have reflected on their lived experiences of conflict through their work. Palestinian journalist Ahmed Dremly has shared harrowing accounts of explosive-laden robots used by Israel, emphasizing the visceral impact of their sound.
In his exploration of how people survive wartime trauma, musicologist Martin Daugherty underscores the importance of finding meaningful stimuli amidst chaos. Similarly, Gazan musicians like Ahmed Abu Amsha and Samih Madhoun have used music as a form of resistance, seeking solace and community in their songs despite constant fear.
This rich culture of music and storytelling stands in defiance against erasure. Artistic and cultural expressions provide hope, maintain identity, and bear witness to the resilience of people enduring the relentless assault on their land and lives.