The Nomenclature of the Oud as "Gambus" in Malay Culture

The term "gambus" in Malay culture refers to a stringed instrument widely recognized for its historical and cultural significance in Southeast Asia. However, the term "gambus" is often used interchangeably with the "oud," a distinctively different stringed instrument originating from the Arab world. This phenomenon raises questions about the linguistic and cultural reasons behind this conflation. This article seeks to explore possible reasons for this interchangeable use, analyzing historical, cultural, and linguistic factors. Furthermore, it proposes a new hypothesis to explain this phenomenon. The Arabic oud and the Yemeni’s gambus share common ancestry as lutes, but they differ in construction, tuning, and playing techniques. The oud, with its pear-shaped body and fretless neck, is a central instrument in Arab music, while the Yemeni’s gambus in the Malay world, particularly in Sabah, has evolved with variations in size, shape, and use. The gambus is closely associated with Islamic culture, often used in religious and cultural performances.

by Dr. Raja Zulkarnain RMY 

The introduction of the gambus to the Malay world is believed to have occurred during the spread of Islam to Southeast Asia between the 12th and 16th centuries. Arab and Yemeni traders played a crucial role in this process, bringing with them their musical traditions. Over time, these instruments were adapted into local cultures, sometimes leading to modifications in their construction and performance practices. One possible explanation for the use of "gambus" to refer to the oud is linguistic simplification. As Arabic traders introduced various musical instruments to the Malay archipelago, the locals may have adopted the term "gambus" as a blanket term for stringed instruments of Arabic origin. This generalization could have been influenced by the limited exposure to the distinct variations of lutes in the region. The local population, unfamiliar with the specific nuances between the oud and the gambus, might have used the term "gambus" for both instruments.

Another factor could be cultural adaptation. The Malay world has a history of assimilating foreign elements into its culture, often adapting them to fit local contexts. The term "gambus" could have been integrated into the Malay language as a representation of any lute-like instrument associated with Islamic culture, regardless of its precise origins or characteristics. This cultural adaptation might have blurred the lines between the oud and the gambus, leading to the interchangeable use of the terms. Building on the historical and cultural context, I propose a new hypothesis: the conflation of the oud and gambus under the term "gambus" reflects the instrument's role as a symbol of Islamic identity in the Malay world. During the spread of Islam in Southeast Asia, the gambus became not just a musical instrument but a cultural emblem of Islamic tradition. The term "gambus" may have transcended its original meaning, coming to represent any instrument associated with Islamic music, including the oud. This symbolic association could explain why the oud, despite its differences, was subsumed under the term "gambus."

In this context, the use of "gambus" to refer to the oud is not due to a simple misunderstanding or oversight, but rather a reflection of the instrument's perceived role in representing Islamic culture. The term may have been retained across generations as a way to preserve and honor the cultural and religious significance of these instruments, even as their physical characteristics evolved or varied. The use of the term "gambus" to refer to both the Arabic oud and the gambus in Malay culture is likely a result of linguistic simplification, cultural adaptation, and the symbolic significance of the instrument in representing Islamic identity. Rather than viewing this conflation as a misunderstanding, it can be seen as a reflection of how musical instruments are embedded in cultural and religious contexts. The proposed hypothesis suggests that the term "gambus" evolved to encompass a broader range of instruments associated with Islamic culture, reflecting the deep cultural integration of the instrument in Malay society.

Further research, including ethnomusicological studies and historical analysis, could provide more insights into the evolution of the gambus and its relationship with the oud in the Malay world. By understanding the cultural and historical factors at play, we can gain a deeper appreciation of the rich musical heritage of Southeast Asia and the ways in which it has been shaped by global influences.