In conversation with Petra Hawi: the woman expanding electro-tarab

Rust gave a mesmerising performance at the Greenwood Theatre in March that left me with many questions regarding the inspirations behind such phenomenal work.

The duo, Petra Hawi and Hany Manja, performed their unreleased album ‘Masar’, a musical interpretation of poetry by Jana Salloum, exploring the Arab woman and delving into her existential questions. Along with their unique blend of traditional and electronic music, they also performed a ‘Wasla’, a 30-minute set customised for the King’s event. Fortunately, soon afterwards I was given the opportunity to interview Petra to commemorate Women’s History Month; what came up in conversations with Petra became an inspiration for me and certainly will be for many aspiring musicians as well.

The Beginning

Petra began her musical journey at the age of nine by learning to play the oud. Eventually, as a teenager, she started singing lessons. Her professional musical career took off over 10 years ago when she collaborated with various musicians based in Lebanon, her birthplace. Here she formed her very first band called Fer'et Aa Nota in 2012 with whom she continued performing until 2020.

Rust

In 2021, Petra met electronic music producer Hany Manja, and from the two talented musicians emerged Rust. The following year, Rust started touring Europe as they continued to raise intriguing questions through their music. After the war in Gaza and Lebanon, the band had to relocate to Prague in October 2023, where they are currently based.

I personally viewed Rust as these beautifully spirited musicians creating something that urged the audience to think; in her own words, Petra put it eloquently, 'Rust is a dynamic duo that blends the rich Arabic heritage of Meridian poetry with modern electronic beats and textures, Rust combines elements of Arabic traditions with contemporary production featuring powerful sounds and my vocals'.

They develop tarab, which is usually defined as a state of musical enchantment and a specific repertoire of Arabic music, into what they call electro-tarab.

The Audience

As I was listening to Petra’s take on this uniquely musical way to carry on Arabic musical legacy, it inevitably drew me to ask her questions about something every artist and every musician faces, especially when dwelling between the fine borders of modern sonic representation and longstanding musical traditions: criticism.

Petra believes that it is impossible to create music that suits everyone’s taste. However, through Rust, she and Hany try to explore a wide spectrum of electronic sounds, beats and textures to craft a modern sound that reflects their taste. While producing original tracks and reinterpreting classical Arabic pieces from the 19th and 20th centuries, Rust tries to view it not as a fusion in the traditional sense but by revisiting songs Petra found audiences were often “nostalgic” and curious”. However, there have also been listeners sensitive towards the changes in the original works. Often, these criticisms are something Rust accepts as a part of creating something different and continues doing what they love for the people who love it.

According to Petra, the band’s focus is to challenge the traditions and notions of Arabic musical identity and carve out a sonic expression that is uniquely theirs.

Petra believes Arabic heritage is a rich cultural resource that deserves to be respected and expanded upon. With this singular seed for thought, Rust became the voice of electro-tarab.

The Future of Rust

Petra hopes her music expands on a global scale and aspires to create even more music that reflects their culture and creativity. When asked where she would like to perform in the future Petra enthusiastically responds, smiling, that Rust dreams of “performing everywhere!”, including Japan, Canada, the United States and Latin America. Petra reminisces that starting out, she never predicted where she would be in ten years, but now she’s grateful for the path she has chosen and she is excited to see what the future holds.

About Petra

But what are the listening habits of such a creative musician? Petra primarily listens to Arabic classical music, jazz and electronic. Her current favourites are Umm Kulthum, Sabri Moudallal, Hadouk Trio, Nils Frahm and Portico Quartet.

Alongside being a singer, Petra is also a music therapist. To Petra, music therapy is heavily non-verbal psychotherapy that utilises music as a means of communication, targeting emotions and the unconscious mind. Without the need for explicit permission, music therapy becomes a freeing flexible process that suits everyone. Her passion for psychology and music emerged ever since childhood, and combining the two has allowed her to truly love her career and follow her passion.

Petra feels that South-Asian music is often inherently meditative and spiritual, making it is a natural fit for therapeutic practices. She believes that to foster greater interest in the matter there needs to be more educational opportunities in music therapy.

When asked what her favourite instrument was, Petra readily expresses her love for the cello. After graduating from school, she was uncertain of the college path she wished to pursue. She studied Interior Architecture, but this did not resonate with her true passion. Eventually, she found her way by studying music therapy and psychology as a double major. Singing has been a central part of Petra’s life and she couldn’t imagine a career without it.