Post-Script #1: The Legacy of Cultural Exchange Through the Oud
by Dr. Raja Zulkarnain
The article discusses the presence and influence of Middle Eastern culture, particularly through music and customs, in Kuala Lumpur, Malaysia. Despite a decrease in Gulf visitors due to the SARS outbreak and the war in Iraq, traces of their culture remain in the form of food, music, and social habits. The oud, a significant instrument in Middle Eastern music, has been part of Malaysia’s music scene for a long time, particularly in Johor, where many Arab traders settled.
Isa Al-Husam Shuhaimi Wa’sa, a Saudi-born Malaysian, emphasizes the long history of the oud in Malaysia. He explains that the oud is likely derived from the North African kambus and is used in various local genres like ghazal, zapin, and masri. Husam has been importing ouds from Egypt and Turkey since 2001, after a request from his university’s gamelan instructor. What started as a small favor turned into a business, with Husam traveling frequently to the Middle East to purchase ouds for local musicians and institutions. His clientele includes composers and musicians from prestigious institutions like Istana Budaya and Akademi Seni Kebangsaan.
The oud journey often involves more than just purchasing an instrument—it is a cultural experience interwoven with personal connections, craftsmanship, and the vibrant musical traditions of the Middle East. The story delves deeper into the intricacies of acquiring a fine oud and the relationships that emerge through this pursuit. Husam, as an oud enthusiast, highlights the craftsmanship of master luthiers such as Maurice Farouk Shehata in Cairo and the influence of legendary oud players like Munir Bashir and Naseer Shamma. The authenticity of an oud is often certified by renowned musicians, making these instruments prized possessions.
The narrative explores the distinct challenges faced when purchasing ouds, from understanding the effects of climate on materials to navigating mass-produced instruments disguised as authentic. Husam recounts memorable experiences in Cairo’s Mohammed Ali Street, Gowharat el-Fan, and El Matria El Maa’skar village, where each purchase is accompanied by cultural exchanges and the art of bargaining. Similarly, Istanbul’s music shops in Taksim, like Atakan Music, are also highlighted as key destinations for finding high-quality ouds, albeit at a higher price point.
Beyond the instruments themselves, the piece underscores the dedication required to master the oud. Husam’s oud lessons with Syrian master Ghassan Yousef emphasize the discipline of traditional teaching methods, where perfection is achieved note by note.
Whether haggling over prices in bustling marketplaces or receiving lessons steeped in tradition, the journey of the oud reveals a world rich in artistry, culture, and passion for music.
In the realm of oud education, Raja Zulkarnain (a former electric guitar player and graduate of the Musicians Institute in London, where he majored in Popular Music Performance) is pioneering a new approach to teaching the instrument. Drawing from his extensive experience—shaped by his studies under an Iraqi oud player Ahmad Mukhtar at SOAS in London—he aims to go beyond the traditional focus on songs and the Kurd maqam, which dominates zapin tunes. By developing a systematic syllabus that integrates resources from books, the internet, and his own expertise, Zulkarnain seeks to elevate the learning process through a deeper understanding of the maqamat and structured pedagogy.
Husam and Zulkarnain also seeks to modernize the oud’s image, shedding its association with “old folk’s music.” They emphasize the growing global appreciation for Middle Eastern sounds, citing examples like Lenny Kravitz’s collaboration with Simon Shaheen and Kadim Al Sahir’s influence. Together, they have joined the Ummul Qura ensemble, which blends the sounds of the oud, darabouka, and qanun, primarily performing Khaleji music popular in the Gulf states.
The ensemble reflects the rich cultural heritage of the Malay-Arab diaspora, particularly Saudi-born Malays. This community exhibits varying degrees of assimilation, with some families preserving Malay traditions while others adopt Arab cultural practices. Husam’s family, despite growing up in Mecca, remains deeply connected to their Malay roots.
Looking ahead, Husam and Zulkarnain aspire to fuse Khaleji music with local sounds and eventually produce an album. They are also working on a website to showcase their ensemble and recordings. Their ultimate vision includes creating a full oud orchestra, which could serve as a cultural bridge, attracting Gulf visitors and enhancing Malaysia’s reputation as a hub for Middle Eastern music.
Key Insights
This post-script reflects on that pivotal year in 2003, where both Husam and I, in our respective capacities, began shaping the narrative of the oud in Malaysia. My early role as a tutor at Akademi Seni Kebangsaan and assistant to Fadzil Ahmad were key milestones in a journey that would span decades. Fazli Ibrahim’s article not only documented Husam’s early efforts but also marked my initial steps in sharing my passion for the oud with a wider audience, setting the stage for a lifelong mission to preserve and celebrate their legacy.
At the time, Husam was introducing authentic ouds from Egypt, Turkey, and other Middle Eastern regions, helping local musicians access master-crafted instruments. Meanwhile, I was embarking on my own journey at Akademi Seni Kebangsaan (now ASWARA), where I served as a music tutor. My role included assisting the late maestro Fadzil Ahmad with the oud instrumental study subject. This pivotal experience allowed me to witness firsthand the depth of his artistry and contribution to the oud tradition, deepening my understanding of the instrument and further fueling my passion for its preservation and innovation.
In late 2003, I began laying the groundwork for a structured approach to oud education. By bridging traditional maqamat theory with practical performance techniques, I sought to ensure that the oud remained relevant and accessible to contemporary musicians. This period was formative in shaping my vision for music education, focusing on the integration of the instrument’s historical and cultural significance into modern musical contexts.
Husam’s contributions complemented these efforts by highlighting the cultural exchange facilitated by the oud. His work reconnected Malaysians with the historical ties between the Middle East and the Malay world, reinforcing the oud as symbols of shared heritage. While our paths were distinct, our efforts collectively contributed to the growing appreciation of these instruments in Malaysia.
In conclusion, the article, marked a foundational moment in my career and documented the early efforts of Isa Al-Husam Shuhaimi Wa’sa in promoting the oud in Malaysia. While Husam eventually left the scene after several years to focus on other business ventures, his contributions laid an important foundation for the growing appreciation of the oud during that period.
From that point onward, I continued the effort single-handedly, striving to preserve and celebrate the legacy of the oud in Malaysia. My work, which began as a music tutor and assistant to the late Fadzil Ahmad, evolved into a lifelong mission to elevate these instruments as symbols of shared heritage and contemporary relevance.
The events of 2003 were crucial in shaping my dedication to education, cultural exchange, and innovation. Through my structured approach to teaching and efforts to bridge the traditional and modern, I have sought to ensure that the oud continue to inspire new generations of musicians. This journey, which started humbly with Fazli Ibrahim’s article, remains a testament to the timeless appeal and transformative power of these remarkable instruments. -drrz
Reference
Ibrahim, F. (2003, September 7). Sultan of Strings. New Straits Times Press, pp. 4-6.
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