Habaju – هبجوا WHEN COFFEE SOUNDS LIKE G1 X23 Y04 Z24 F1800
Ancient instrument and machine – a Bedouin-futurist fusion of old rhythms, new sounds and grinded coffee.
The project Habaju (“They were smashing”) aims to breathe new life into an ancient bedouin instrument. The project focuses on the recreation of its rhythmic patterns, while also exploring its historical role in the sharing of coffee, hospitality and conveying messages and emotions through complex rhythms. The outcome is a machine that, after decades of traditional instruments serving mainly as decoration, generates these rhythmic patterns, echoing its almost forgotten purposes.
The history of the instrument can be traced back to the 6th century. There have been several usages, besides its original purpose to grind coffee beans. The unique sound of the hitting has led to its use in social and cultural activities as a musical instrument, used for musical performances and communication within rural communities. The emergence of modern grinding machines has widely replaced the traditional tool, shifting its purpose to being an aesthetic object transporting cultural heritage.
A machine that brings the original instrument, its rhythms and smells back to life by playing the almost forgotten popular and improvisational rhythms and connecting people. The completion of this project represents not only the revival of an ancient practice, but also a fusion with modern technology which opens a space for new interpretations of historical sounds and meanings.
With every different movement of the pestle, also the motors create their own humming sounds, depending on direction and speed, until the pestle hits inside the instrument’s body playing the final beat. Both sounds together, the acoustic wooden beat and the rhythmic machine movements are fusing into a new generative sound experience.
The features and sounds of the mechanical parts and motors became an integral part of this contemporary interpretation of a historical tool. Through compositions of old and new rhythms as well as experimental sounds, the machine serves as a preservation of history and culture just as much as a re-invention and re-interpretation of that history.
Apart from an extensive research paper from the University of Yarmouk and some ethnographic studies by European orientalists, there is hardly any written history to be found about the instrument. This project opens avenues for further exploration into the integration of Bedouin cultural heritage with modern technology, suggesting new possibilities for preserving but at the same time acknowledging the incomplete and changing meanings of histories.
Materials
Various metal parts, wood, closed-loop motors, motor drivers, Arduino Mega, RAMPS 1.4, power supply, 3D printed parts, mechanical parts, Geofón, piezo microphone, electromagnetic field microphone.
Credits and thanks
Thanks to my thesis supervisors Prof. Dennis P. Paul and Prof. Ralf Baecker for conceptual support, critique, suggestions.
Thanks for your support, Volker Grahmann, Felix Fisgus, Timm Albers, Marie Gerwing, Abdulghaffar Tammaa, Wissam Tammaa, Qianxun Chen, Mattia Bonafini.
Thank you for your support through
Video recording
Abdullah Tammaa
Gabriela Valdespino
Video Editing
Gabriela Valdespino
Project developed at the Digital Media Bremen program
References
Nabil Al-Darras, Khalil Tabaza (2006), “The Beauty of Al-Mehbash in Jordanian Traditional Arts”. In: Yarmouk Research – Humanities & Social Sciences Series, vol. 22, no. 4, S. 1165-1181