TAQSIM

by Dr. Raja Zulkarnain “ The Post-Script Project revisits selected key moments and stories—from personal experiences to features in newspapers and magazines—that shaped my journey with the oud (gambus) from 2003 to 2024. Each reflection offers fresh insights, connecting past experiences to the present while exploring the oud’s cultural and personal significance. ” In revisiting the Kosmo! article  “Petikan Tali Gambus”  (July 31, 2012), I am struck by how deeply the oud—or gambus, as we call it in Malaysia—has resonated across cultures. The second part of the article highlights the dedication required to master the instrument, featuring musicians such as Sherine Tohamy, a passionate Egyptian oud player, and Abbas Naji Kassamany, a Lebanese virtuoso, both of whom emphasized the technical and emotional depth of the oud. It also sheds light on the insights of Majid Nazampur, an Iranian researcher, who noted the cultural adaptations of the instrument acros...

by Dr. Raja Zulkarnain “ The Post-Script Project revisits selected key moments and stories that shaped my journey with the oud (gambus) from 2003 to 2024. Each reflection offers fresh insights, connecting past experiences to the present, while exploring the oud’s cultural and personal significance. ” When  Kosmo!  published the article  'Petikan Tali Gambus'  by Nasri Jamaludin on July 31, 2012, gambus music in Malaysia was still deeply influenced by the melodies popularized by the late Raja Gambus, Fadzil Ahmad. The article reflected on the artistic journey of a maestro who not only popularized the gambus in Malaysia but also brought national recognition to the instrument on the international stage. Now, more than a decade later, his passion and dedication to gambus music continue to live on. In December 2024,  Dewan Budaya  published the article  " Legasi Raja Gambus Malaysia " , detailing the long journey of the late maestro in elevating the art of ...

by Dr. Raja Zulkarnain “ The Post-Script Project revisits selected key moments and stories that shaped my journey with the oud (gambus) from 2003 to 2024. Each reflection offers fresh insights, connecting past experiences to the present, while exploring the oud’s cultural and personal significance. ” Kosmo!2 Rencana Utama, 16 January 2012, by Basir Abu Bakar. In this post-script, we will look at how 13 years ago an ambitious initiative by the Ministry of Higher Education aimed to reshape how Malaysians engage with music education. The Program Latihan 1 Malaysia (PL1M) was an effort to make practical skills training accessible to people from all walks of life, particularly in arts and music. It was a bold attempt to merge tradition with modernity, introducing the public to instruments that reflected Malaysia’s cultural identity while also embracing contemporary music forms. As part of this initiative, the National Conservatory of Arts (NCA) became a key player in the teaching and lea...

  by Dr. Raja Zulkarnain “ The Post-Script Project revisits selected key moments and stories that shaped my journey with the oud (gambus) from 2003 to 2024. Each reflection offers fresh insights, connecting past experiences to the present, while exploring the oud’s cultural and personal significance. ”   The article, published on Wednesday, 9th April 2008, in the VARIA section of Kosmo! and written by journalist Nabilah Salleh, highlights the remarkable story of Mohd. Diah, affectionately known as Pak Mat. A traditional gambus craftsman from Johor, Pak Mat dedicated his life to preserving the heritage of gambus-making. His instruments were highly sought after in Malaysia, Singapore, and Brunei, often gracing zapin dances, ghazal performances, and traditional ceremonies. His family, particularly his children, joined him in this mission, ensuring that the art form would not disappear entirely.           As noted in the article’s subtitle, “ Mohd...

by Dr. Raja Zulkarnain The neglect of traditional arts and cultural organisations by the very institutions tasked with safeguarding cultural heritage is a troubling phenomenon. These organizations, which bear the critical responsibility of preserving and promoting traditional arts, are increasingly sidelined due to inadequate support in terms of funding, research, and performance opportunities. Such oversight endangers the continuity of cultural traditions and undermines the collective heritage of society. The lack of adequate financial support significantly hampers the sustainability and growth of traditional arts organisations. Events showcasing traditional arts are not merely celebratory occasions but essential platforms for education, community engagement, and the transmission of cultural knowledge. Without sufficient funding, these events face cancellation, resulting in the gradual erosion of both cultural practices and the understanding of their significance. Similarly, the...