Post-Script #2: Reviving a Forgotten Memory

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.”

In 2007, Mariatul Qatiah Zakaria wrote a piece for the Utusan Malaysia column Seni Yo! titled “Raja Zulkarnain and the Oud Are Inseparable.” Published on August 18th, the article beautifully captured my connection with the oud, likening it to the inseparability of melody and song. Revisiting that piece today, I see how much my journey has grown and evolved. Yet, alongside the triumphs, I can’t ignore the challenges that have shadowed the oud’s story, particularly here in Malaysia.

 

At that time, the oud was a distant echo, its presence overshadowed by modern instruments like the guitar or keyboard. It wasn’t just unfamiliarity that kept the oud in the shadows—it was a broader cultural apathy. There seemed to be a collective hesitation, perhaps even resistance, to embrace traditional instruments like the oud. Some called it ignorance, others laziness, but I saw it as a kind of cultural neglect. The rich heritage embodied by the oud was at risk of fading, simply because no one wanted to take the first bold step to change its course.

 

I’ll admit, it was frustrating. The oud, with its deep roots in history and its haunting, soulful sound, deserved better. Yet, formal learning opportunities were scarce, and few people saw the value in mastering its delicate art of performance. This lack of initiative wasn’t limited to individuals—it extended to institutions and cultural bodies, where support for preserving and teaching traditional instruments often felt like an afterthought.

 

Despite this, I remained committed. The oud’s voice spoke to me in ways no other instrument could, and I knew it had the potential to resonate with others if only it were given the chance. I took it upon myself to study, teach, and perform, driven by a desire to break the cycle of neglect.

 

Today, things have improved, but the journey is far from over. The oud is slowly finding its place in Malaysia’s musical landscape, but the road ahead requires more than just enthusiasts like me. It demands a collective effort—from educators, institutions, and cultural leaders—to ensure that the oud doesn’t just survive but thrives as a living art form.

 

For me, the oud isn’t just an instrument; it’s a keeper of stories, a bridge between the past and the present. My hope is that we continue to nurture its legacy, recognizing that preserving our cultural heritage is neither a luxury nor a task for someone else—it’s a responsibility we all share.

 

This Post-Script isn’t just a reflection on my journey with the oud; it’s a call to action. Let us not allow ignorance or neglect to silence the voices of our traditions. Instead, let us take the steps needed to honor and celebrate the beauty of instruments like the oud, ensuring their songs are heard for generations to come. -drrz

 

Reference

Zakaria, M. Q. (2007, August 18). Raja Zulkarnain dan oud tidak dapat dipisahkan. Utusan Malaysia, Seni Yo! Column, p. 13.