Despite being scattered worldwide, Palestinians often find ways to maintain their bonds and outlook. When the pandemic swept the world, bringing closures, travel bans, and stay-at-home orders, my friend Anas al-Najar suggested that I compose a piece that speaks to how Palestinians maintain a level of engagement with their culture, history, and identity. He wanted to show that, despite the daily circumstances that Palestinians endure, the world may benefit from the insight into Palestinians’ everyday difficulties and survival methods. Al-Najar lives in Gaza, where the term normal doesn’t apply. Yet, having gone through numerous interactions with him while working on various musical projects, we became good friends. The bond we created became very strong despite never meeting in person. At that moment, the term “Ubuntu,” which means “humanity” or “humanity to others,” and embodies an African philosophy centered around the interconnectedness of people. The word comes from the South African Nguni Bantu language. It was often translated to “a person is a person through other people” or “I am human because I belong, participate, and share.” In a more philosophical sense, it also means “I am because we are” or “I am because you are.” I decided to approach this piece from this perspective, hence the title, “Ubuntu.” It speaks to the core values we share and embrace as humans and our willingness to share our experiences when the world was trying to figure out how to conduct a meeting over Zoom. The piece’s construction is based on the premise that all performers share an equal part in the melody, while the others carry the soloing instruments and provide support. I composed the piece, arranged it in such a fashion, and sent it to Anas less than 24 hours later. My focus was on equality, equity, and justice; all are missing from the lives of Palestinians and Africans. Therefore, I dedicate this piece to them, Palestine, Africa, and our mother. It’s a humbling experience to have some of my favorite musicians, who excelled in their interpretations and recorded their tracks in France, Gaza, Chicago, Bethlehem, and Bayt Sahur, featured on the recording; I cannot thank them enough. Iyad Abu Laila, percussion; Youssef Hbeisch, percussion; Miguel Khair, piano; Anas al-Najar, qanun; Mohamed Najem, clarinet and nay; Charlie Rishmawi, bass; Siraj al-Sarsawi, ‘ud; Waneer Zarour, buzuq; and mixing and mastering by John Towner. The tracks were recorded during the pandemic in 2020 and the winter of 2021.

The purchase price includes all parts and the score.

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