Post-Script #3: The Decline and Hope for Gambus Craftsmanship in Johor

 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. Diah kini boleh menarik nafas lega, apabila gambusnya akan terus berbunyi. Anak-anaknya kini meneruskan perjuangan mempertahankan alat muzik tradisional itu” the future of gambus craftsmanship seemed secure, with his children poised to continue his legacy. 

        However, Pak Mat’s journey was not without challenges. After leaving his job as a rubber tapper in 1999, he began crafting gambus with the support of Kraftangan Malaysia, alongside other traditional instruments like gedombak, dol, kompang, and angklung. His workshop, located beside his home, became a hub of creativity and discipline, where he personally selected premium materials like red teak and nibung to ensure the highest quality instruments.

    His youngest son, Mohd. Azwan, a student of woodcarving at the Institut Kraf Negara (IKN), joined his father in perfecting the art of gambus-making. Similarly, his daughter, Rohana, after completing her studies at Universiti Pendidikan Sultan Idris (UPSI), contributed to the family’s efforts. This collaboration offered Pak Mat relief and pride, as he envisioned a brighter future for the craft.

    Yet, despite this optimism, beneath the surface lay concerns about the waning interest among younger generations. Unlike in Turkey or Egypt, where modern tools have been integrated into traditional practices, gambus-making in Johor remained labor-intensive and economically challenging. These limitations deterred many from pursuing the craft, even as institutions like Yayasan Warisan Johor placed orders for Pak Mat’s gambus.

    The hope expressed in 2008 did not materialize as envisioned. Today, Pak Mat’s children no longer pursue the craft that once brought their father recognition. Pak Mat’s son, Aidil, has since taken over the workshop but only produces gambus when there are specific orders or repair requests. With demand dwindling, Aidil has prioritized other work and sources of income, leaving gambus-making as an occasional endeavor. His brother Azwan, once a promising woodcarver, now helps only when needed. Rohana, once involved in the family craft, has become a school teacher and no longer participates in gambus-making.

    This shift reflects a broader trend: over the past 15 to 20 years, younger generations have gravitated toward Turkish and Arabic ouds, reducing the demand for Johor’s traditional gambus. This transition can be largely attributed to my influence during my tenure at ASWARA, where I introduced the Turkish oud as an alternative to the gambus in both academic and performance settings. Many of my students, inspired by the instrument’s versatility and the rich maqam system, began adopting the oud in their musical practices. Beyond the academy, my advocacy for the oud’s potential in modernizing traditional Malay music further cemented its popularity among young musicians.

        The late Fadzil Ahmad, a prominent gambus player and a pivotal figure in Johor’s musical scene, also shifted to using the Turkish oud toward the end of his career. His transition sent a strong message to the musical community, signaling the oud’s superiority in terms of tonal range, playability, and adaptability to various genres. This collective embrace of the oud has undeniably contributed to the decline in demand for the traditional gambus, leaving its craftsmanship economically unsustainable and increasingly overlooked.

    Today, only one active gambus maker remains in Johor, compared to three in 2008. This decline highlights a deeper concern: the gradual erosion of a cultural legacy that has long been a cornerstone of Malay heritage. Without timely intervention and sustainable efforts, the rich history of gambus craftsmanship faces an uncertain future.

    The article serves as a poignant reminder of the fragility of traditional arts. Despite Aidil’s intermittent efforts, the fate of Johor’s gambus remains at risk, underscoring the need for collective action to preserve this invaluable aspect of cultural heritage before it is lost entirely.

A Missed Opportunity: Delayed Institutional Support

Back in 2008, the call for intervention was clear—gambus craftsmen needed modernization, financial aid, and visibility to sustain their craft. However, little was done. Unlike Turkey and Egypt, where institutional backing has allowed traditional instrument-making to thrive, Johor’s gambus makers were left behind. The lack of modern tools and techniques kept the craft stagnant, while mass-produced instruments from abroad further diminished demand. Missed opportunities for innovation, such as laser cutting and advanced soundboard designs, left the industry vulnerable.

    The decline of gambus-making is more than just the loss of a craft—it signals the erosion of Malay heritage. The gambus, central to performances like zapin and ghazal, and deeply rooted in spiritual and ceremonial traditions, is now at risk of being forgotten. Without high-quality instruments, these cultural practices face dilution or extinction, threatening the very fabric of the Malay world.

    Despite the decline, recent efforts such as workshops and exhibitions offer a glimmer of hope. To secure the future of gambus craftsmanship, a multi-pronged approach is essential: modernization of tools, youth engagement through education and apprenticeships, financial support via grants and subsidies, and thorough documentation to preserve the legacy.

    The current fragile state of gambus-making is a stark reminder of what could have been achieved with timely action. If efforts had been made two decades ago, this cultural heritage might have flourished rather than diminished.

    The time to act is now. With only one active gambus maker left in Johor, revitalizing this endangered craft requires collective effort. If we fail, the gambus risks becoming a relic of the past rather than a living symbol of Malay heritage. -drrz

Reference

Salleh, N. (2008, April 9). Waris pembuat gambus. Kosmo!, VARIA section, p. 25.