3. Research Design

This research employs an arts-based methodology to address central questions that lie at the heart of its case studies: How can Palestinian music serve as a medium for asserting artistic identity and resisting cultural erasure? How do improvisational and cross-cultural collaborations reshape artistic practices and contribute to processes of self-definition? By integrating reflexive autoethnography with collaborative musical exploration, this study bridges personal and collective narratives through creative practices. The design emphasizes the interplay between lived experience and artistic expression, situating music as both a medium for identity negotiation and a site of cultural resistance. Through improvisation, collaboration, and the dynamic interaction of tradition and innovation, the research illuminates the potential of music in navigating complex sociopolitical realities.

3.1 Methodology

The methodology of this research is rooted in the approaches of artistic research. In addition, I draw on aspects of  autoethnography, duoethnography, and reflexivity to create an interwoven methodological framework. Together, these approaches integrate personal narrative, collaborative inquiry, and creative exploration to investigate the complexities of Palestinian identity within the context of music-making and research. This methodological framework bridges the deeply personal and the collectively shared, exploring how artistic expression becomes a conduit for resistance, healing, and dialogue.

The interplay between imagination and research invites a reevaluation of how knowledge is produced and conveyed, particularly in artistic and ethnographic contexts. By moving beyond the rigid conventions of documentation and description, artists and researchers engage with "imaginative speculation" as a critical method of discovery (Ravetz, 2009). This approach challenges traditional notions of objectivity, embracing subjectivity and personal experience as integral to the inquiry process.  The imaginative techniques employed in art enable a deeper exploration of human experiences, which may otherwise be "muted by the hard science of collecting data" (Taussig, 2009). By situating personal concerns within expressive forms that transcend textual or descriptive limitations, these practices highlight the potential of artistic inquiry in understanding complex cultural and social phenomena. This imaginative lens not only broadens the scope of methodological possibilities but also enriches the narratives created in the space between art and ethnography.

Artistic Research

Artistic research forms the foundation of this inquiry, where the creative process itself becomes a method of investigation. As Borgdorff (2006) explains, “research in the arts devotes attention to both the materiality of art to the extent that it makes the immaterial possible, and to the immateriality of art to the extent that it is embedded in the artistic material.” This approach demonstrates a natural kinship with established research traditions such as ethnography and action research, which inform practice-based inquiry (Borgdorff, 2012).

Artistic research differs from the research of art, as it involves an element of "finding" rather than "searching," where chance, complications, and uncertainties play pivotal roles in guiding discovery (Henke et al., 2020). Unlike systematized methodologies dependent on pre-legitimated models, artistic research thrives in zones of ambiguity, allowing for disruptions, fictions, and uncertainties to inform the process. These qualities contribute to its aesthetic singularity, enabling the researcher to engage with subtleties and render them manifest with clarity and precision (Henke et al., 2020).

This inquiry aligns with three overlapping approaches to artistic research in music: text-based positioning and validation, “pure” artistic research expressed through music itself, and reflective approaches that focus on the act of making music (Schippers, 2017, p. 165). This triadic framework allows the laboratory of the practice room or music studio to serve as the primary site of research, where experimentation and reflection converge to generate new understandings (Schippers, 2017, p. 167).

Within this framework, methods such as participant observation, field studies, autobiographical narratives, performance ethnography, and collaborative inquiry resonate deeply with the artistic processes explored in this research. Artistic research positions the creative process as both subject and method, offering a dynamic lens to investigate cultural and social phenomena. By engaging in artistic practice, this study examines how identity and resistance manifest through the act of making art. The artist’s practice becomes the "field" of investigation, positioning the creative process as both the subject and the method of inquiry. Similarly, action research, with its transformative and enhancement-oriented aims, aligns with the artist's pursuit of innovation and engagement, enriching the discourse around the intersection of art and research practices (Borgdorff, 2012).

Reflexivity as a Conceptual Framework

Reflexivity underpins this research as both a conceptual framework and a methodological tool. It acknowledges the dynamic interplay between the researcher, their artistic practice, and the research process. Every researcher has, to some degree, a connection to or involvement with the subject of their research (Davies, 2012),  underscoring the intrinsic role of my Palestinian identity in shaping the trajectory of this inquiry. Reflexivity enables a critical awareness of how my lived experiences as a Palestinian musician inform the selection of case studies, collaborative processes, and analytical perspectives. This self-awareness transforms the research process into a dialogic space, where personal and socio-political contexts intersect to inform artistic expression. 

Autoethnography: Situating the Personal within the Political

Autoethnography serves as a core methodology, allowing for the integration of personal experiences with broader cultural and political narratives. This approach situates my journey as a Palestinian artist within the larger discourse of cultural continuity. The scholarly work becomes an opportunity for self-reflection as well as the product of scholarly work, that is what reflexivity can entail (Davies, 2012).  Through this lens, the research examines moments of musical creation as acts of resistance and healing. My travels, during this research, to Palestine, Catalonia, India, and Italy are documented through field notes and recordings, capturing improvisational sessions and collective practices. These experiences, shaped by memory and the socio-political realities display the resonance of individual narratives across the collective histories. Here, music turns into a reservoir of cross-cueing memory and a medium for reimagining identity. 

Methods such as participant observation, performance ethnography, field studies, autobiographical narratives, thick descriptions, reflection in action, and collaborative inquiry are among the techniques that resonate deeply with artistic processes. Ethnographic research, characterized by its critical and engaged approach, acknowledges the interconnectedness of researchers and their subjects in the field, providing a compelling model for certain types of artistic research. 

Duoethnography: Collaborative Narratives

The methodology is further enriched by duoethnography, a collaborative approach that juxtaposes multiple life histories to generate new understandings of culture and identity.  The duoethnography facilitates a critical self-study through dialogue, emphasizing the relational aspects of cultural identity (Norris, 2012). This method allows for a nuanced exploration of how my experiences as a Palestinian artist in the diaspora intersect with those of my collaborators, each bringing their unique cultural perspectives to the creative process.

Duoethnographic practice in this research involves engaging in conversations and improvisational sessions with collaborators from diverse backgrounds, artists I encountered during my travels, and local artists in Palestine.  The dialogic nature of duoethnography creates a polyvocal space where differences are celebrated and transformative insights emerge.  This approach fosters "regenerative transformation," where the act of sharing stories and artistic practices generates new possibilities for understanding identity and belonging (Sawyer, 2015).

Integrating Methodologies to Explore Identity

By combining reflexivity, autoethnography, duoethnography, and artistic research, this methodology provides a comprehensive framework for examining the interplay of music, identity, and socio-political realities. Reflexivity ensures a critical awareness of the researcher’s positionality, while autoethnography situates personal narratives within broader cultural and political contexts. Duoethnography adds a collaborative dimension, fostering a relational understanding of identity through dialogue.

Improvisation, as a creative practice, highlights the transformative power of sound as a medium for healing and resistance. In doing so, this methodology not only addresses the central research questions but also aligns with the broader aims of cultivating presence and exploring the nature of Palestinian identity in the context of art-making. 

Improvisation is a central element of this research methodology, reflecting the fluid and adaptive nature of Palestinian identity. It serves as both a meditative practice and a creative process, enabling a dynamic exploration of freedom and constraint within socio-political realities. Improvisational sessions—whether in live performances, workshops, or informal collaborations—are documented through recordings and reflective notes. These sessions are analyzed as sites of artistic experimentation and collective engagement, illustrating how music becomes a space for resistance and resilience.

As Carless (2021) observes, music creates “space in ways that others might also be encouraged to contribute,” inviting a participatory and inclusive approach to identity construction. Through improvisation, this research explores how sound operates as a medium for articulating the complexities of Palestinian identity, bridging the personal and the collective, and creating opportunities for intercultural dialogue.

3.2 Data Generation

The core data and content of my research is generated through two main musical case studies, which will be outlined in the following sections. The primary data collected includes recordings, videos, discussions, semi-structured interviews, and journal entries and I draw on mutually beneficial methods to generate the data / content, including:

• Intercultural musical collaborations
• Improvisation
• Verbal dialogue
• Musical dialogue
• Field trips
• Keeping a personal reflective journal

3.3 Data analysis

To analyse the data, I employed a combination of thematic analysis and coding, two common methods in qualitative research (Neuendorf, 2018). Thematic analysis allowed me to identify core themes that emerged from the data, while coding helped to pinpoint specific words, phrases, and ideas that recurred throughout the discussions and improvisational sessions. This approach enabled me to organize and make sense of the complex and layered information that arose from both collaborations. The data gathering of the interviews were very precise and planned steps. The interviews were semi-structured discussions that included the interviewees' reflections and perspectives and ideas on the topic. The interviews were conducted either in-person or by Zoom, recorded and then transcribed. Upon revisiting the recorded interviews and bridging research questions and my reflection, there was a process of filtering the interviews. Thematic analysis allowed me to identify core themes that emerged from the data, while coding helped to pinpoint specific words, phrases, and ideas that recurred throughout the discussions and improvisational sessions. This approach enabled me to organize and make sense of the complex and layered information that arose from both collaborations.

3.4 Research ethics

This research adhered strictly to established ethical guidelines to ensure the integrity of the process and the well-being of all participants. Informal verbal consent was obtained from interviewees for their input to be used and shared in this thesis, as well as in the accompanying performance booklet. Consent was secured through face-to-face interactions, phone calls, and WhatsApp communications. Interview excerpts included in the thesis were carefully selected to ensure they were not taken out of context. To preserve the richness and depth of the conversations, full transcripts of the interviews, with the interviewees’ permission, are included in the appendices.

Participants were also given the opportunity to review my reflections and interpretations of their stories, ensuring that their perspectives were accurately represented. Feedback from collaborators was incorporated into the text, and revisions were made based on their input to maintain authenticity and mutual respect.

All contributors to this project participated voluntarily and provided signed consent forms before data collection commenced. These forms remain in the researcher’s possession, with examples included in the appendices. Participants also consented to be acknowledged for their artistic contributions in the thesis and related materials.

Throughout the research process, adherence to the “Finnish Code of Conduct for Research Integrity” and “Procedures for Handling Alleged Violations of Research Integrity in Finland,” as well as the European Code of Conduct for Research Integrity, was maintained. Specifically, these guidelines informed the study's approach to “basic principles of research integrity,” “research procedures,” “safeguards,” “data practices and management,” “collaborative working,” and “publication” (TENK, 2023). All data was securely stored, both physically and digitally, in PDF format on dedicated NAS storage to ensure confidentiality and safety.

A commitment to ethical conduct underpinned every aspect of this research. Anonymity and confidentiality were carefully considered and implemented where appropriate. The researcher prioritized fostering a respectful environment that valued differing perspectives and opinions, thereby creating a space conducive to open dialogue and meaningful contributions. These measures upheld the integrity of the researcher-participant relationship and the overall trustworthiness of the study.