This thesis emerges as an exploration of the multifaceted nature of music, identity, and the enduring spirit of a people living through profound challenges. Based on autoethnographic reflection, it provides an introspective exploration of how sound becomes a vessel for presence, a mirror for resilience, and a space for transformation. Through music, this inquiry seeks not merely to articulate personal narratives but to connect them with the common pulse of a collective memory—a memory that is influenced by the persistent realities of displacement and the yearning for freedom that Palestinians, no matter where they are in the world, experience. At the heart of this research lie three case studies that illuminate the potential of music: Sonic Exile, where traditional Arabic modalities and experimental soundscapes dissolve into a single, resonating voice; Echoes from Bethlehem, an improvisational encounter with Palestinian Nay master Faris Ishaq that brings forth a meditative state of being wholly present in sound and spirit; and the work of the Amwaj Choir, where human voice rises above cultural and physical confines, embodying a living, enduring presence. The findings suggest that music is not a static act but a living practice—an unfolding dialogue between tradition and innovation, self and other, silence and sound. Improvisation, as a way of being, becomes a method of both reflection and resistance, enabling a deeper connection to the present moment while engaging with the complexity of the past. The research reveals music’s profound capacity to heal, to resist, and to imagine new pathways for freedom and belonging. Rather than offering definitive conclusions, this thesis extends invitations: to listen, to witness, and to remain open to the spaces where sound and silence meet, where identity and memory evolve, and where the human spirit, despite all, continues to create and endure.

6. Discussion and Conclusions

The case studies looked at in this research—”Sonic Exile”, “Echoes from Bethlehem”, and the work with the Amwaj Choir—together, they offer a multifaceted understanding of how improvisation, cross-cultural collaborations, and the integration of tradition and innovation within Palestinian artistic practices can serve as powerful acts of defiance against the ongoing erasure of Palestinian identity.

A common thread linking these case studies is the role of improvisation as both an artistic method and a tool for resistance. The collaborative improvisation with Jano Doe in "Sonic Exile" revealed a shared vulnerability that transcended individual narratives. The dynamic interplay between the qanun and Jano's modular synthesizer created a sonic environment in which Palestinian cultural memory could meet modern sound experimentation, demonstrating the dynamic and suppleness of Palestinian self-expression and cultural reservoirs. Similarly, “Echoes from Bethlehem” offered a different yet complementary perspective, where improvisation with Faris Ishaq is stemed in our shared Palestinian cultural heritage.

The maqam system and the interplay of instruments like the Nay and Qanun allowed for deep dialogue with tradition and the reclamation of the spirit of the land. Faris’s philosophy that "harmony wants to happen by itself" speaks to the idea of letting go of control, allowing space for the music—and by extension, the identity—to evolve authentically. The broader concept is that identity—like music—is a dynamic, ever-evolving process, shaped by both personal experience and collective history. As an artist navigating exile, the improvisational process holds a space to allow and reconnect with my unfolding Palestinian identity in light of personal struggles inflicted by the constraints of the concept of nationality and of the larger, ever-ongoing political struggle in my homeland.

A key concept emerging from both “Sonic Exile” and “Echoes from Bethlehem” is the idea of cultural resistance, which was powerfully exemplified through the artistic practices of both collaborations. As El-Amyouni (2024, p.21) asserts, “existence is resistance”—simply being and creating within the confines of occupation is a profound act of defiance. In “Sonic Exile”, the recordings were sonic experiments charged with emphasis on the reimagination born from both Palestinian folk traditions and modern sonic landscapes. This is a direct and resourceful challenge to the oppressive forces that sought for a narrative to become submerged and forgotten through usual rhetorical and material instrumentalities.

The Amwaj Choir of Palestinian youngsters brings themselves to the spotlight to sing to their fundamental rights of being and to tell their stories beyond the common preconception, They are potent stands of self-affirmation and self-awareness, directly challenging the ignorance and prejudice surrounding Palestinians and their identity. The cultural resistance through the collective effort of the choir became a vital counter-narrative and a creative chamber of young spirits nourishing their authenticity and reaching out to fellow humans while continuing to surpass the forces and notions that attempt otherwise.

The preservation and reimagining of cultural memory are central to both the “Sonic Exile” and “Echoes from Bethlehem” case studies. Music was a medium for artistic exploration and a living archive in the “Sonic Exile”—holding and reinterpreting Palestinian cultural memory. This work is a testimony to the continuance to revive the threatened cultural memory. Palestinian artists intersect with diverse artwork in coding the silenced Palestinian narrative that offers insights to contemporary Palestine (Santos, 2011). Similarly, in “Echoes from Bethlehem”, the practice of Al-‘Aunah, a Palestinian tradition of communal support, resembles the collective nature of bringing something to life and continuity.. The effort of creating music embodies the collective vision and aspirations of a living memory by continuing to recount the exclusionary historical narratives and cultural legacy of Palestine while engaging with the present challenges of national displacement and erasure.

Through an exploration of the “Sonic Exile” and “Echoes from Bethlehem” case studies, as well as my reflections on the work with the Amwaj Choir, key findings have emerged that shed light on the profound ways in which music—particularly through improvisation and cultural collaboration—becomes a site for resistance, healing, and cultural memory preservation.

Key Findings:

This research identifies six key findings that underscore the transformative role of music and artistic collaboration as tools for navigating identity, resisting erasure, and collective resilience within the Palestinian context. The key findings outlined below offer new perspectives on the interplay between artistic expression, sociopolitical struggle, and the evolving dynamics of identity formation.

Improvisation as a Pathway for Identity Exploration: Through both “Sonic Exile” and “Echoes from Bethlehem”, improvisation was revealed not just as a creative method, but as a critical act of identity formation and resistance. By engaging in spontaneous, collaborative music-making, artists and performers negotiate the complexities of their identities.

Music as Cultural Resistance: Whether through the interplay of traditional and modern instruments in “Sonic Exile”, or the grounded cultural practices in “Echoes from Bethlehem”, music becomes an active form of resistance. It is a proactive act of cultural reclamation, directly challenging the erasure and distortion of Palestinian history and identity.

The Role of Cultural Memory in Artistic Expression: The importance of cultural memory emerged as a dynamic force in preserving the reservoir of the Palestinian culture and history. Music and other forms of art are cultural relics that possess the exceptional capacity to archive the legacy of a culture and of a history. Artwork also stretches memorial connection from the past struggles to the future aspirations of survival and continuity in contributing to the global heritage.

Presence as a Foundation for Identity Transformation: The case studies emphasized the importance of presence—not just as physical participation, but as an emotional and psychological state that facilitates deeper connection and creative flow. Being fully attuned to the moment allowed for a fluid, evolving understanding of identity, where both the self and the collective were continuously redefined in the act of creation.

Globalization and Artistic Identity: Globalization in this modern world promotes a certain lifestyle and a way of being that challenges the space for diverse identities to survive and thrive, especially for individuals and communities that have been under the weight of long, systemic deprivation and denial of self-determination and sovereignty. Palestinian artists are particularly vigilant to these forces, both at the occupied homeland and in the diaspora, that reinforce the imposition of a globalized identity that can strip individuals of their cultural specificity. Through the study of both solo and collaborative work, it became evident that music can authentically rebuild the fragmented identity by guiding the balance of tradition and contemporary to heal and flourish, rather than adopting a custom identity.

Limitations

While this research offers valuable insights into the role of music in Palestinian identity, there are limitations that must be acknowledged. Due to time constraints and the unfolding political situation in Palestine, the scope of fieldwork and direct participation was limited. The ongoing occupation in Palestine has consistently restricted freedom of movement, making access to historic Palestine incredibly challenging. This, combined with the unfolding crisis in Gaza and across all of Palestine, has further hindered opportunities for conducting in-depth interviews or engaging in more extensive fieldwork. Additionally, the collaborative process was shaped by the real-time unfolding of events in Palestine, which added a layer of emotional intensity that made it difficult to establish long-term, uninterrupted engagements with all collaborators.

Conclusions and Looking Ahead

Looking ahead, this research opens several avenues for future exploration. Future studies could focus on the role of Palestinian music in broader international solidarity movements, to assess how art intersects with global political movements. Additionally, further research could explore the evolution of Palestinian artistic identity in response to shifts in political and technological landscapes, particularly in the digital age. Finally, there is potential for examining how music education, as exemplified by the work of the Amwaj Choir, serves as both a means of cultural preservation and a tool for resistance against forced cultural exclusion.

Cultural resistance and activism help to create a free space that transforms and challenges the oppressing hold of the dominant power (Santos, 2011). The value of art in conserving historical narrative, living memory, and altering the prevailing ethno-national narrative that has deliberately excluded the people from their story and history. The future of this research lies in continuing to explore how art can serve as both a reflective and transformative force in the ongoing struggle for Palestinian self-determination.

Final Performance:

The final concert of my Master’s studies in Global Music at Sibelius Academy, “Fragments of Love and War”, brings together diverse voices, traditions, and artistic expressions. Rooted in the spirit of intercultural dialogue. The collaboration with musicians, poets, and improvisers from various backgrounds infuses the performance with a rich, multidimensional texture, blending the personal and collective experiences of love, loss, and resilience. This shared creative process amplifies the narrative of Palestinian identity and the universal power of art to bridge cultural divides, inspire empathy, and celebrate the beauty of human connection amidst adversity.

As a natural progression from this research, the final performative outcome of this project had taken shape on December 13, 2024, at Helsinki Music Centre as part of the Global Fest. This event had brought together individuals from Slovenia, Valencia, India, Slovakia, France, Palestine, Jordan, Chile, Argentina, and Finland—each contributing their unique voices to a shared space of creation and solidarity. These collaborations had not only expanded the dialogue around Palestinian identity but also had created a platform for artists to collectively engage, each bringing their unique art and soul to the stage.

The lyrics we had sung, drawn from Palestinian poetry and the poetry of the artists joining, had woven our stories together, articulating both the shared agony and beauty. Working collaboratively with musicians to arrange and write these pieces had been a way to honor our collective experience. This reflection had reached its peak in this concert, a synthesis of two and a half years in Finland and the insights they had brought. It had been a convergence of the resonating voices that had echoed through my journey—from Bethlehem to Helsinki. The concert had served as a space where music, memory, and meaning had intersected. Much like this thesis, the concert had not just been a representation of who I am but a reflection of the ever-changing nature of identity and artistic expression in a world fraught with uncertainty.

Access the live stream of the concert through the saved link below:

Concert Booklet (PDF)

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6. Discussion and Conclusions

Key Findings:

Limitations

Conclusions and Looking Ahead