These works of art, while created by individuals rather than whole societies, show that there is another way. Oman’s erasure of Zanzibari identity is not the only story that exists. There are artists who are working to create a reality in which Zanzibari culture and identity can exist within Oman’s society, without compromising itself. Further research and documentation in this area would be a way to affirm and encourage others to have this point of view. The documentary that is the main source for this analysis, Arts of the Monsoon, is incredibly inaccessible (it was only available through UCLA’s library in DVD form and it could be found nowhere online) and many of the artists interviewed in the film cannot be found on the internet. The film itself is also flawed, while funded by the Smithsonian’s National Museum of African Art, was directed by someone who is not from the Middle East who primarily focuses on war documentaries (“Dodge Billingsley”). While this is something, there needs to be more investment into funding artistic projects within Omani society, because the English-speaking West should not be the ones to dictate this narrative. These stories and art need to be shared with the Omani public so that they can begin to view the Zanzibari group in their country with more empathy and acceptance.